Roadkill. That’s the first shot of this, the penultimate episode of the season. How do you close out a season when you’ve already reved up the action and tragedy to level 10? You remind us that there are many more casualties on the road ahead. Losses that are mourned, and people that are sometimes forgotten in this environment of violence and greed. Steven Linder hasn’t forgotten Eva. In fact, she’s all he can think about, which is why he’s speeding down the desert road on his way to see her. He pulls up to Rev. Bob’s, wearing his best shirt and jacket. He tells Rev. Bob that he wants to marry Eva, and he’s like the good Reverend to perform the ceremony. Eva, however, is no longer on the ranch. With her dangerous boyfriend no longer a threat, she went back to her old life. Linder vows to find her.
Eva has managed to find a job in a factory in Juarez. Leaving her shift, she accidentally misses the bus that offers the women safe passage through the streets. A man in a red car pulls up and offers her a ride. At first she declines, because, well, he’s a stranger offering her a ride. However, her aching feet and long walk make her change her mind, and she hops in to the car with Texas plates.
Sonya’s beloved Bronco is smashed to smithereens, a casualty of her run in with David Tate. The kindly mechanic delivers the bad news, which Sonya refuses to accept. The car was Sonya’s sister’s and she has a very deep attachment. Lt. Wade drives up and reminds Sonya that it was the car that was destroyed, not her sister’s memory. She asks the mechanic to remove the tape from the deck for her. Reluctantly, Sonya takes the dream catcher from the rear view mirror and says a tearful goodbye.
Wade tells Sonya that no one has been able to get ahold of Marco. David Tate’s trial is set to start and Marco’s testimony is important. Sonya agrees, she’s called him eleven times and he hasn’t picked up. The mechanic hands her back the cassette, it’s ribbon blowing in the breeze much to her horror. Wade reminds her that often people stop reaching out to those in grief after the initial shock wears off, a feeling Sonya knows all too well. She decides to head to Marco’s house with pastries in hand.
Marco lies in bed, unshaven and disheveled. He’s been sleeping in Gus’s room, keeping his son close to him in whatever way he can. The doorbell rings and Marco staggers out to answer it. When he opens the door, Sonya tries to hide her shock at his appearance. Marco isn’t happy to see Sonya, but he doesn’t slam the door in her face either. She tries to talk to him about the hearing but he’s not interested in listening. Gus had no funeral and Marco has been either drunk or asleep since she last saw him. She asks Marco about Alma and it really sets him off. He yells that Alma’s gone, the girls are gone, he is all alone now. He lashes out telling her that a “normal” person would know better than to show up at a grieving father’s home bearing Danishes. Sonya, who feels a connection to Marco, tries to assert that she was worried about her partner. Marco once again diminishes their relationship and tells her to leave.
In The Bridge, the whole world is a circus where chaos and destruction are the ringmasters. How fitting then that Charlotte decides to meet up with Fausto Galvan at one. Trapeze artists are practicing in the background as she saunters up to the men. Trapeze artists need to trust each other completely, know that someone will catch them as they fly into the air. Luckily these performers have a net. Charlotte does not. Her future partnership is with a man she could not possibly trust, and will likely rain much pain down in her life.
At first Galvan laughs at her when she proposes that they join up. Charlotte points out that she’s a rich white women, who blends in, an asset Galvan does not currently have. Galvan tells Charlotte that she needs to eat a steak, and she counters by asking if that means they have a deal. (She’s already killed two people in the span of a week Galvan, so try not to push it buddy.) As she goes to leave, he grabs her inner thigh and casually mentions cutting off a former cohorts manhood and sending it to his wife. What he really means is, fuck with me and I will fuck with you.