Previously on The Bridge, Steven Linder awkwardly and ironing-ly dealt with Scary Tear-Drinking Dude, Marco’s messing around prompted his wife to give him the heave-ho, the FBI tried to cover their prostitute-related messes, and Gina, a neglected teen, had a scary time in Juarez and an even scarier time upon returning home.
Wonder along with me, as I put together this week’s recap while traveling (I’m stealing WiFi for you!), who the hell is having the opener’s hot sex? Why, it’s Charlotte and her sleazy Florida man-toy, Ray! Poist-coital bliss inspires her to show him the tunnel, and he vows to take care of that pesky hard-core senora, Graciela. Way to show all your cards and hand over the entire ring of keys at once, Charlotte. Awkward, though, to stand there while Fausto Galvan and his minion drag by Scary Tear-Drinking Dude, still wrapped in his rug (and prompting me to worry that Steven’s dead in the desert somewhere).
At Peter Meadows’s home (psychiatrist to the FBI, DEA, and El Paso PD, and now dead by serial killer with the oh-so-horrifying Columbia Necktie method of assassination — the tongue freaking pulled through the throat, urgh), Sonya leans on Gina to tell her what she saw, and Marco assures Gina she’ll be safe at the station.
Back at the station, Marco shows sensitivity by asking Tim not to put the picture of Peter Meadows up on the Big Ol’ Board O’ Victims (Tim immediately understands and complies, giving him points in my book), while Sonya shows her impatience by calling frazzled Gina “a bad eyewitness”.
Hank gently reminds her of the pertinent facts: Gina’s FIFTEEN, and her dad was just slaughtered.
Ugh, it is HARD to watch Sonya excitedly try to question Gina, shoving photos at her and prompting for details, while Gina goes through nicotine withdrawal, freaks out at Sonya staring at her, and quietly sobs as she’s forced to go through whatever the hell she remembers of her ordeal.
It’s particularly tough knowing that this detached Sonya was that fifteen year old girl after a fashion, identifying her dead eighteen-year-old sister and all but deserted by other family.
I’m not usually a fan of music-driven montages, but playing “Brand New Key” while Daniel Frye gets rid of his entire stash of drugs and more bottles of alcohol than you can shake a stick at is seriously inspired. You got something I need, indeed.
When Adriana shows, Frye has classified FBI files to share. He “has a source” (the serial killer? The hell?). Oh, and he knows it was Marco who took his phone (last week), so they’re off to Juarez with a little vendetta in the back of Frye’s mind.
Galvan gathers his men to lecture them about dead Calaca (killed by Steven Linder) and his weakness: a woman. “Gentlemen, do me the honors,” he declares, and they all pick up knives, and holy crap, that’s Calaca lying dead and battered at the end of the table.
Gus comes round the station to ask Marco to come home, reminding him “it’s the second time you’ve done this.” Ah, it sucks to hear Marco has a history of infidelities (though he assures Gus “that was different”). Marco, you can’t one minute try to fold Gus in to your new family, and the next tell him it’s none of his business if you cheat on his step-mom.
Adriana takes a shaky nauseous Daniel to the Juarez morgue, learning that everyone who worked on the case of the death house (where Cristina Fuentes and Fausto Galvan’s brother were found, along with a host of other dead men), is now transferred somewhere else or dead. Urk.
Marco confronts Hank about his involvement in Sonya’s sister’s murder/rape case. Whoa, Hank was the one who put the bullet in Jim Dobbs’ head, not killing him but mentally incapacitating him. He went to therapy afterward, not because of the shooting but because of what he did “to the little sister” who ID’d her dead sibling at fifteen, taking away “any hope she had of getting answers.” It makes so much sense that Hank would have been around to work the Cross case, and wow, Sonya imprinted on him like a duckling — no wonder she headed into law enforcement eventually after she got out of the state foster care.
Over at Lyle Lovett’s, Charlotte’s man-toy is taking over all tunnel-related business, puffing up like a peacock as he brashly says it’s not his “first dope rodeo” (even though Graciela’s transport is for people, not drugs). “He kept my pen,” Lyle Lovett complains after Ray leaves (with a slap to Charlotte’s ass on the way out) as Graciela looks amused and like she’s already contemplating stringing-up Ray like she did Charlotte’s horse.
God knows where Charlotte’s step-daughter is at this point, but I’d like to see her take down Ray. Have they even read the damn will yet?
Sonya’s excited to tell Gina a sketch artist is coming (this is not at all exciting for Gina, yo), while Marco gives poor shattered Gina the smoke Sonya had denied her earlier and bonds with her over Sonya’s off-putting intensity. I’m just impressed you can apparently smoke in police stations in Texas.
Adriana takes Frye to see where Calaca is fastened to a pole with all the gangsters’ knives sticking out of him. This is the kind of wrath they’re facing from Galvan if they keep up with the story. But even if Adriana’s afraid, she says, “Hell, yeah,” when Frye asks if she wants to continue.
Gina gives a description of the serial killer’s eyes to the sketch artist, while Sonya hovers around and demands other details until Gina explodes that she was so scared, she can’t remember. Oh great, Gina’s mother shows up, and she’s shaking from drug use. Ah, it was her ex-husband that wrote her the first prescription for Oxycontin — that’s how he got his fancy-schmancy house, handing out prescriptions left and right, not by working for the county health-plan. Now the Columbian Necktie (typically done to narcs in drug dealing) makes a bit more sense, but the killer’s overall M.O. (all these varied murders of disparate people) eludes the El Paso CAP team.
Marco’s wife Alma confides her marital woes in her super-sympathetic male friend, who of course is just trying to get it on with her, and horribly awkwardly at that. Meanwhile, Gus flirts with a friend in terrible text-speak.
Hank and Sonya take Gina out for burgers, where Hank tells Gina gently that going home with her mom isn’t the best plan right now. Sonya reveals it was the same deal with her mom, though for hers it was “cocaine and men.” Gina asks if she can go to the bathroom — yikes, is she going to bolt?
Unaware of my harried yelling to watch where the hell Gina’s going, Hank and Sonya talk about how social services isn’t a great solution either. “Well, you didn’t turn out too bad, did you?” Hank asks, and Sonya gives him that gorgeously vulnerable beautiful smile she seems to have only for him. I love every single scene between Hank and Sonya with the burning heat of an El Paso midday.
Of course Gina does run like hell, and soon Hank and Sonya are calling after her in pursuit. A blood curdling yell sounds, and Sonya finds Gina bleeding to death in a parking lot. “It was him,” Gina gasps out, going into shock. Sonya tries to soothe her and tell her to hold on, getting blood all over her hands, but moments later, Gina is dead. Hank tries to comfort Sonya as she cries and rocks in despair.
Marco nearly lets himself into his house with a key, and then has the good sense to knock instead. He pulls out a suitcase and then an armful of clothes. Shove the clothes in the suitcase, Marco. When he says, “Listen,” to Alma, she retorts, “Don’t tell me anything, just the way you didn’t tell me you slept with that woman. If we talk, I say when.”
Outside the house, Marco gets the call that Gina’s dead (from Sonya, who’s washing blood from her hands, poor kid). Okay, so no one knew Gina was with them aside from her mother, Marco, and the FBI/El Paso PD. “He’s watching us,” Marco says uneasily as Sonya looks all around the station (an insider suspect is looking more and more likely). Nice but devastating side shot of Gina’s mother hearing the news and passing out into Tim Cooper’s arms. When she hangs up the phone, Sonya pulls off her bloodied shirt, and her gaze falls on the sketch pad, on the killer’s eyes.
Frye is now 51 hours sober: “Here’s to the next ten minutes.” He and Adriana talk through some of the salient issues of the Cristina Fuentes case, and it turns out Marco Ruiz was the lead investigator on the case the death house bodies that was buried. “The killer wants us to know Marco’s dirty,” Frye concludes. Cripes, I don’t want them to go after Marco the way Frye seems like he might.
Charlotte’s untrustworthy man-toy Ray calls “Timbo” back in Tampa. Hey, it’s the other Swayze! Ray’s got something going on (the tunnel) and wants 50 (K) to start. Tim says it’ll take him a couple of days. When he hangs up, we see he’s assisting the FBI with a wire-tapping/investigation. “We’re just getting started,” the agent tells him.
Marco heads to Fausto Galvan’s house with his suitcase, and at first I was like, surely there are better hidey-holes for you to camp out at than Galvan’s pad, Marco! Then of course it turns out it’s the SUITCASE FULL OF MONEY. Oh my god, Marco had that just sitting in his house with his family? At least now it makes sense why he didn’t pack.
Galvan wonders why Marco didn’t keep it; “always so moral,” he says disparagingly, because no one would have known. “I’ll know. So will you,” Marco says seriously. “Now you’re too good for the business our fathers started?” HOLY CRAP, their families were in business together? This is such a crazy new level to add to Marco’s characterization, that he potentially comes from a crime boss family. When Marco refuses even a small bribe, Galvan throws a stack of money onto the fireplace.
In a heartbreaking scene, Sonya visits with Dobbs. He must have been the man about whom Hank and the coroner said “there’s nothing for you there”. He scribbles crayon figures with blond hair and black masks while Sonya watches and squeezes his hand. Tears run down her face, and it’s striking that Dobbs is the last messed-up connection to family that poor Sonya has.
I’m a bit sorry we lost Gina so soon — though last week she was mostly a resentful teenager, she would have been an intriguing connection to various facets of the case to have around (and the actress did a fantastic death scene). Still, it’s hardly surprising the killer would want her gone as soon as possible. I’m hoping we’ll see more hints of corruption and suspicion in the Mexican and American sides of law enforcement that might lead us even closer to the killer. Join me next week for more of “The Bridge”!