- Previously on
"The Hunting Party"...
- It's called the Pit.
It's home to the most
dangerous and violent
criminals in history,
all of whom
the world believes are dead.
Or at least it was
until the blast hit.
[expl*si*n booming]
- This was never about me
keeping secrets from you.
This was about me
finding my mother.
Why did you take over
inmate recovery?
- Because I believe in some
of the work the Pit was doing.
I was given a second chance.
I don't intend to waste it.
[dramatic music]
♪ ♪
[The Mamas & the Papas'
"Dedicated to the One I Love"]
♪ ♪
- ♪ While I'm far away ♪
♪ From you, my baby ♪
♪ I know it's hard ♪
♪ For you, my baby ♪
♪ Because it's hard ♪
♪ For me, my baby ♪
♪ And the darkest hour ♪
♪ Is just before dawn ♪
♪ ♪
♪ Each night before ♪
♪ You go to bed, my baby ♪
♪ Whisper a little prayer ♪
♪ For me, my baby ♪
♪ And tell ♪
♪ All the stars above ♪
- ♪ This is dedicated
to the one I love ♪
♪ This is dedicated ♪
- ♪ To the one I love ♪
♪ This is dedicated
to the one I love ♪
♪ This is dedicated to
the one I love ♪
- ♪ This is dedicated ♪
- ♪ This is dedicated ♪
- You're using
too much blush, Colette.
- Dad always said
be generous with it, Liza.
You want them to look alive.
- Yeah, he also said
makeup is expensive.
[uneasy music]
- I want him to look good.
♪ ♪
- It's a closed casket.
No one's gonna see him.
- [whispers]
Yeah, but we'll know.
You look very handsome, Daddy.
- I'm going out
to meet some friends.
- There's still so much more
to do before the funeral.
- Look, if there's
one person who understood
needing a drink, it's Dad.
- Don't talk about him
like that!
- [laughs]
Like I said, wasting money.
♪ ♪
Are you really gonna open
a fresh jar?
You think Dad cares
what he looks like?
You are such a freak.
- You gonna let
your sister talk to you
like that, sweetie?
[dramatic music]
♪ ♪
- What is even wrong with you?
- Tell her she can't
talk to you that way.
♪ ♪
- You can't talk to me
like that.
- Excuse me?
What, are you gonna
start crying?
♪ ♪
Did I hurt your feelings?
- Stand up for yourself.
- You're just as nuts as Dad.
- Do it.
- [grunts]
- Good.
- [choking, squelching]
- ♪ Each night before ♪
♪ You go to bed, my baby ♪
♪ Whisper a little prayer ♪
- That's my girl.
Good job.
- Thanks, Dad.
Thanks.
[ominous music]
♪ ♪
- As surprising
as it might sound,
dinner with Lazarus was
actually nice.
- Nice?
That's all you have
to say about that?
- What's nice is that
you're still breathing.
- I'm serious.
We--we just talked.
Honestly, I think
she's as curious about me
as I am about her.
She didn't even know
I was her son
until a couple of weeks ago.
- How did she say that
she found that out?
- Well, she said
part of her knew
the moment she saw me
in the command center.
She pulled my records,
confirmed it.
I mean, I don't know
what I imagined
finding my mom would be like,
but it wasn't this.
[chuckles]
I mean, she cooked me lasagna.
Well, she tried to.
And for what it's worth,
it actually
felt like she was being open,
you know.
I asked her about
the recovery operation,
straight up.
- And?
- She said she wanted
to be part of it because
she believes in some of
the work the Pit was doing.
- Yeah, of course she did.
She ran it.
- Well, so did Odell.
[tense music]
I know that that's
completely different.
♪ ♪
I'm just saying,
she's not what I expected.
I'm sorry, I'm just tired.
We've had a long day.
[phones buzzing]
- About to get longer.
Got a hit.
What about the missing inmates?
Ever since Lazarus
took over the transport,
three inmates were moved out,
and no one seems to know
where they went.
- Just because
they've been moved
doesn't mean something
messed up is happening.
I'm not saying we trust her
completely, OK?
But what do we actually
have on her, really?
Besides the fact that
she made a horrible mistake
as a teenager
and spent decades in prison.
♪ ♪
- A dead body
was found in a mortuary
in Kansas City an hour ago.
- Just the one?
- Mm-hmm.
Our victim, Henry Bradley,
was the owner
and funeral director
of the Bradley Mortuary,
which used to be
the Akins Mortuary.
Now, the hit was confirmed
by a partial fingerprint
belonging to Inmate H64,
Colette Akins.
You want to do the honors?
- Sure.
Back in 2015,
Colette chalked up
an impressive 11 murders
to her name.
From a young age, she was
raised in the family business.
[pleasant music playing]
- When the time comes,
show your loved ones you care.
all: We're here for you.
- Akins Family Mortuary.
- Very Addams Family.
- No Morticia.
- Sadly, the mom died
in childbirth.
That's Dad, Nathan Akins,
with Colette.
And on the left,
older sister Liza.
The two sisters had
a lot of resentment
due to the mother's death--
so much so that
Liza's favorite pastime
was locking Colette in coffins
for hours on end.
- Kids will be kids.
- Her dad was the only one
that Colette
actually felt protected her.
The day of her dad's funeral,
Colette decides to slit Liza's
throat with an embalming knife.
And then when she's finally
caught years later,
she tells police
her dead dad told her to do it.
- Like, she saw his ghost
or something?
- More like
a disembodied voice.
Auditory psychosis
can be the result
of a couple different things--
brain injury,
sleep deprivation, trauma.
In Colette's case,
they think that it was tied
to the embalming chemicals
that she was working with.
- Formaldehyde.
- Damn.
I knew some guys back home
who used to smoke
weed soaked in formaldehyde.
- They hear voices telling them
to k*ll people too?
- Colette's father's voice told
her to do a lot more than that.
He instructed her to put
Liza's corpse in his coffin,
bury them together,
and then tell
friends and family that
Liza had run off to California.
- OK, so Liza was the first.
Who were the next ten?
- Women all around
Liza's age that Colette
saw as a replacement
for her a*usive older sister
and activated her
trauma stimulus response.
She would stalk them,
k*ll them, and then put them
in coffins with other cadavers
that were being buried
by the family funeral home,
just like she did
with her sister.
- I mean, it is a pretty cool
system for hiding bodies.
If--you know, if you're
a depraved serial k*ller.
- Plane's on the tarmac.
[tense music]
♪ ♪
[wind whistling]
[chimes clinking]
[ominous music]
- [breathing deeply]
I can't sleep.
♪ ♪
[sighs]
Can you sing to me?
- Hello? Is anyone there?
- Can you hear me?
- I need help.
Help!
- Can you sing me a lullaby?
- What? No.
Please, you gotta
get me out of here.
- How about a story?
- Lady, I don't know
any stories.
Just, please,
let me out of here!
[tense music]
Hello? Are you there?
Are you out there? Lady?
- You want me
to tell you a story?
How about that?
- No.
No, I don't want a story.
Look, lady, it's hot in here.
I can barely breathe.
I really need some water.
Just let me out of here!
What the hell
is wrong with you?
♪ ♪
- It was a bone-cold
winter's night,
and inside a little house,
a little girl lay
in her bed all alone.
- Please.
- And just as she was
about to fall asleep,
she heard a noise.
- Please, I need water!
- Hey!
Shh!
I'm telling you a story.
- OK. I'm listening.
- So the little girl
heard a sound,
but when she opened her eyes
and looked around,
she couldn't see anything.
But then, through
a crack in the wall,
she saw what was
making the sound.
- Look, lady...
- It was a mouse.
- I don't know what you want,
but I can get it for you.
- And the little girl was like,
hello, mouse,
would you like to be my friend?
- Money?
You want money?
Please, what do I have to do?
- But this wasn't a cute mouse.
- Please, just let me out!
Stop, please!
[gurgling]
- What was the little girl
to do?
- What are you doing?
- I said, what was
the little girl to do?
[glass shatters]
[dramatic music]
♪ ♪
It turns out the mouse
wasn't a mouse at all.
- Please, just let me go.
- It was a rat.
A big, fat, ugly rat!
And they just kept
coming around
and squeaking and scratching,
and the little girl
couldn't fall asleep.
Even though she said
to the rat, be quiet,
the rat just kept saying,
"Can I please have some water?
I'm thirsty.
I want some water."
And because the girl
was a nice little girl...
- No, no, no, no!
- She gave the rat
exactly what it wanted.
[banging]
[water sloshing]
♪ ♪
- And then everything
was quiet again.
♪ ♪
[sighs]
But the little girl
still couldn't sleep.
♪ ♪
[dramatic music]
♪ ♪
- I can help you, Colette,
but you've got to talk to me.
Now, let's start with
where the bodies are buried.
- Who we are,
the essence of our being,
is so much more
than just cartilage.
- Is that something
your father would say?
Is he here now?
- He loves me.
- May I speak with your father?
- No.
- Why not?
[eerie music]
- 'Cause he's mine.
- Colette, help us
reunite your victims
with their loved ones.
♪ ♪
- Dad says no.
Sorry.
- Please, just--just tell us
where the bodies are buried,
and we'll leave you
and your father alone.
- Dad says you're a liar
and not to trust
a word out of your mouth.
♪ ♪
- Son of Sam said a voice
told him to k*ll too, right?
- No, that was a dog.
- Since when does the Pit care
about things like
retrieving the bodies
for grieving families?
- They probably didn't,
but they couldn't resist
the challenge.
I mean, think about it--
this woman is
completely controlled
by auditory psychosis.
They control the voices,
they control her.
And to do that surgically,
they sent her to...
- Professor Fairfax.
- The one and only.
[buzzing]
♪ ♪
Looks like the Pit
allowed Fairfax
to perform experimental
surgeries on Colette
called targeted
neurocortical decoupling.
- Which does what, exactly?
- Essentially, they severed
the neural pathways
that created
the auditory hallucinations.
- Took away Daddy's voice.
- Of course they did.
- Well, they might have
taken Daddy's voice,
but Colette still
didn't give up
the locations of the bodies.
- Are we feeling
any better today?
- Where is he?
Why won't he talk to me?
- If you're interested
in talking,
I know your therapist is eager
to resume your sessions.
[tense music]
- Why can't I hear him?
What did you do?
- Well, Colette,
I like to think
we brought you some peace.
- No.
I want you to bring him back.
- Removing the voice
they couldn't control
was just step one.
- [sobbing]
- Colette, it's OK.
It's Dad.
They brought me back to you,
so we could be together.
- That's not real.
- Colette, the people here,
they just want to help you.
Tell them what
they want to know.
- That is quite
the parlor trick.
- How'd they get
the voice right?
- Do you remember
the commercial
for the family mortuary?
- How could I forget?
- They scraped the audio
and then created
a program where they could say
whatever they wanted
in his voice.
- But you're doing great.
Sweetie, if you tell them
what they want to know,
then we can get back
to being--
[crackling, static]
♪ ♪
- Dad?
- If you want to talk
to your dad, Colette,
you need to talk to us first.
- Some psychotic form
of mind control.
- The Holy Grail of psyops.
- Honey, just tell them
where you hid the bodies.
That way,
we can be together forever.
♪ ♪
- Heather Wilson is buried
with Howard Yates,
section five, lot 1443,
Blessed Assurance Lawn.
It's a tranquil spot
with a beautiful view
of the crypts
on the southern slope
of the cemetery.
- That's so twisted.
- It worked.
They got their bodies.
Colette got
her father's voice back.
- Yeah, until the Pit blew up.
Now she's all alone again.
[dramatic music]
♪ ♪
[door clicks]
[tense music]
♪ ♪
- Oh, could have changed
the slogan.
- Hmm.
♪ ♪
- Police said Bradley was dead
almost a week
before they found him
downstairs.
Throat was slit
with an embalming scalpel.
- That fits.
- They didn't find his body
until yesterday?
- The mortuary is
by appointment only.
Janitor came in
for his weekly service,
and he found the body
in here last night.
Cops are bringing him down
to talk to us right now.
♪ ♪
- Could this have been
a territorial thing?
She comes home to find
the family business
being run by somebody else,
somebody who isn't Dad?
- Or maybe Colette came back
for her trophies.
♪ ♪
- Hey, guys,
she'll be out in a second.
- All right.
Thank you, officer.
♪ ♪
- Hi.
I understand you're the one
that found the body.
Special Agent
Rebecca Henderson.
- Franco.
- Do you mind if I ask
a couple questions?
- OK.
- How long have you
worked here?
- Almost three years.
- Was that space always empty?
- No, ma'am.
Usually there's a coffin on it.
A fancy one too.
- OK. When did it disappear?
- It was here the last time
I was here.
- Is there any chance
that Mr. Bradley
could have sold it
before he passed?
- It's a floor model.
♪ ♪
- Have you noticed
anything else missing?
- There's usually
a work van out back.
♪ ♪
- Colette's childhood trauma,
her MO,
it's all tied to coffins.
There's one missing,
along with a van.
- We'll put out a BOLO.
- She didn't come here to k*ll.
She came here to steal.
- We're thinking
robbery gone wrong?
- Well, if she stole a coffin,
she's planning
to put someone in it.
[ominous music]
♪ ♪
- ♪ A-tisket, a-tasket ♪
♪ I dropped my yellow basket ♪
♪ I wrote a letter
to my woman ♪
♪ On the way, I dropped it ♪
♪ I dropped it, I dropped it ♪
♪ That little yellow basket ♪
[doorbell ringing]
♪ ♪
Thanks, you can just
leave it on the porch.
- Actually, I need a signature.
- Okie-dokes.
[tense music]
♪ Yes, siree, Mr. Mailman ♪
♪ I hope that package
is for me ♪
[humming melody]
Good morning.
- Here you go.
- Thanks.
[stun g*n crackles]
[grunts]
♪ ♪
[tense music]
♪ ♪
- Wife came home to find a mess
and her husband missing.
We got the 911 call.
- Are we sure it's Colette?
- Ring camera saw her
dragging him out of the house.
- I mean, I don't know,
it's not like him.
I mean, I came home,
and his phone was there.
And then the lamp was broken,
and nobody will tell me
anything.
Where is he?
The police won't
tell me anything.
Did somebody take him?
Why would anyone
kidnap my husband?
- We don't know.
- But you'll find him, right?
- Look, we are gonna do
everything possible.
I promise.
- [sighs]
- Excuse me. Hi.
Sorry to interrupt.
Hey, Sue, did you go
to Washington High School?
- Uh, yes, we both did.
It's the biggest high school
in the county,
so most of us went there.
Oh, this is Marty's mother.
Excuse me.
Hi.
- What's up?
- So Marty went
to Washington High School,
graduated in 2004.
Guess who else graduated
from Washington High in '04.
- Colette's sister.
- And Colette graduated
from here two years later.
- Marty's mom
is on her way over.
- Uh, Sue, you and Marty went
to the same high school
as Liza and Colette Akins?
- That was our dubious claim
to fame, or notoriety, I guess.
- What were they like?
- I never really got to know
either of them.
It was such a shocker when
we found out what happened,
Colette murdering Liza
that way.
Colette was the quiet one too.
- What about Marty and Liza?
Did they know
each other at all?
- Mm, why do you ask?
- Uh, no stone unturned.
- Bex.
- As far as I can remember,
Marty never talked
to either one of them.
Uh, different circles.
Liza was one
of the popular kids.
You know how high school is.
[chuckles]
Marty spent most of his time
in choir practice.
[breathing shakily]
Marty is the kindest person
I know.
Why would anyone want
to hurt him?
- Bex.
[somber music]
- Hey, Sue?
Sue, listen to me.
We're gonna do whatever it
takes to bring Marty home, OK?
- Mm-hmm.
- They found a body.
[dramatic music]
[machinery whirring]
- That's not Marty.
- So she kills Henry Bradley,
leaves him at the mortuary,
kills this guy,
and hides him in a grave?
- Bradley was
a means to an end.
She got the coffin, the van.
You think this guy serves
a different purpose?
- Yeah.
- His name's Nelson Stuart.
Worked at a nursery.
- What, like with babies?
- No, like plants.
- Ah.
- Been missing a week.
Cemetery employees
dug this grave this morning.
When they got back from lunch,
half the soil
was tossed back in with
this poor guy underneath it.
- Yeah, well,
Colette probably thought
they'd just put a coffin on top
of it and not even notice.
- The medical examiner
will confirm,
but I'd be surprised if time
of death was over 24 hours ago.
- Means Colette must have kept
him somewhere for a while.
- Why go to the trouble
of kidnapping someone
if you're just gonna k*ll him
and leave him out here?
- She needed the coffin
for someone else.
- For Marty.
- Did Nelson go to school
with Colette as well?
- No, he's not even
from around here.
- There's got to be
a connection.
- Well, we better figure out
what that is,
or that's exactly how
we're gonna find Marty's body.
♪ ♪
[eerie music]
- [breathing deeply]
♪ ♪
[chimes clinking]
♪ ♪
- [breathing shakily]
Hello?
What's going on?
Hello?
Somebody, please! Hello?
- [inhales sharply]
Oh, good. You're awake.
- What--what's happening?
Where am I? Oh, no.
Oh, God!
Let me out of here, please!
- I can't do that.
But as long as you do as I say,
you don't have anything
to worry about.
You like to sing, don't you?
- [grunting]
- You're gonna sing to me.
- [muffled shouting]
- I can't believe it.
Of all the scenarios I imagined
why Nelson didn't show up
this week,
m*rder*d was not one of them.
- Yeah, I can imagine
it would be a shock.
What do you know
about his background?
Friends, family, hobbies?
- He was a hard worker.
He's great with the orchids.
[chuckles]
He brightened up the place.
He talked about
moving to Nashville.
He wanted to be
a singer-songwriter.
He has this great--
uh, he had a--
a great voice.
Uh, the kind of voice
you don't hear very often.
- So what,
she's going after singers?
- What do you want to bet
Colette's dad sang to her?
- Morales, I need you
to run a search.
I remember some entries
in her Pit file
that mentioned singing.
- Already on it.
Sending you something now.
- I can't sleep.
- I'm sorry, sweetie.
- Dad, can you--
can you sing to me
like you used to?
- Of course, baby.
♪ Hush, little baby,
don't say a word ♪
♪ Mama's gonna buy you
a mockingbird ♪
both:
♪ And if that mockingbird ♪
♪ Don't sing ♪
[phone beeps]
- That's good news for Marty.
- You think?
- She wants Marty
to sing for her.
Dead men don't sing.
- That didn't help Nelson.
- Well, maybe he refused,
or he panicked.
But as long as he's singing,
she's gonna keep him alive.
What I don't understand,
though,
is how she's targeting them.
I mean, Marty was
a schoolteacher.
Nelson worked
at a garden center.
- She must have heard him
sing somewhere.
- Morales, I need you to
cross-reference their socials,
see if Marty and Nelson
both went somewhere--
church choir,
community theater,
voice lessons, anything.
- On it.
[chair creaking]
- Let's try it again.
- ♪ Hush, little baby,
don't say a word ♪
♪ Daddy's gonna buy you
a mockingbird ♪
♪ And if that mockingbird
don't sing ♪
♪ Daddy's gonna buy you
a diamond ring ♪
♪ If that diamond ring
don't shine ♪
- You're doing it wrong.
- Wait, wait, wait.
Look, this song,
it's obviously important
to you.
[panting]
Somebody must have sung it
to you when you were little.
Am I right?
[tense music]
Was it your mother?
♪ ♪
- No.
♪ ♪
She died the day I was born.
♪ ♪
- I--I'm sorry.
I'm sorry. I didn't know.
That must have been
really hard.
- What it is
is none of your business!
- OK.
♪ ♪
Your father, then?
♪ ♪
- He loved me.
He believed in me
when no one else did.
- I understand.
My mom's like that too.
♪ ♪
She's a very kind person,
just like your dad.
I'm sure he wouldn't
want you to hurt me.
- If you can't help me,
I'm gonna have to find
someone who will.
- No! No, don't go! Wait!
Hello? Hello?
♪ Hush, little baby,
don't say a word ♪
♪ Daddy's-- ♪
- Guys, I think
I found something.
Marty doesn't have
social media,
but I found a picture of him
on his friend Emily's
SnapMax page.
Turns out he was
at a karaoke bar
the night before
he was abducted.
And get this--
Colette's other victim,
Nelson,
and his friends were
at the same karaoke bar.
- The same night?
- No.
As far as I can tell,
they've never met one another.
But they were both
at the same karaoke bar
within weeks
of getting kidnapped.
- Nice work, Morales.
Send us the address.
[tense music]
♪ ♪
- ♪ Crazy ♪
♪ I'm crazy for ♪
♪ Feeling so lonely ♪
♪ ♪
♪ I'm crazy ♪
♪ ♪
- Hey, dude,
do you think it's possible
for you to not look like a cop?
- I don't look like a cop.
- You look like a cop.
- I do not look like a cop.
- Well, now you look
even more like a cop.
- Whatever, man.
You look like a cop.
[indistinct chatter]
- Can I get you anything?
- Um, actually, yeah.
I was in here
a couple nights ago.
I met this woman.
Um, I was wondering
if you might have seen her.
I'm just trying to--
trying to hunt her down again.
- Yeah,
she comes in here a lot.
♪ ♪
- ♪ Why do I let myself worry ♪
- So bartender recognized
Colette's photo,
says she's in here most nights.
Apparently she's AO.
- What's AO?
- Audience only.
Means she doesn't sing,
she just watches.
- Ah. That makes sense.
She's in here trolling
for her next victim,
not blowing off steam.
♪ ♪
OK, supposing
she does show up...
what's the plan?
- We follow her.
I mean, if Marty's still alive,
we've gotta know
where she's holding him.
- What if doesn't show?
- Do you have a better plan?
[laughs]
- I'm gonna take a lap.
See what the song selection is.
I do a mean Cyndi Lauper.
- Mm.
- I'm sure you do.
- ♪ Crazy for crying ♪
♪ And I'm crazy for loving ♪
- You OK?
- Hmm?
Yeah.
Uh, my wife and I went
to a karaoke joint like this
on our first date.
♪ ♪
- That's sweet.
- [inhales sharply] Hey.
[clears throat]
I've been thinking.
♪ ♪
Colette is literally
murdering folks,
seeking that connection
with her father.
- Yeah, and?
♪ ♪
- You think Shane's gonna
do something he regrets
for Lazarus?
- I'm just saying,
push comes to shove,
who's he gonna choose?
- I think we give Shane
some space.
[cheers and applause]
- All right, one last time.
Let's give it up for Amy,
everybody!
- I just still
don't love the fact
that he lied to us, especially
about something personal.
Do you still trust him 100%?
- I do, yeah.
- [breathes deeply]
[solemn music]
- I trust you too,
even if you left
a few things out
of your story.
♪ ♪
- When did you find out?
- When you were
in the hospital.
I figured someone
should let your wife know
that you got shot.
♪ ♪
- I don't like
to talk about it.
- You don't have to.
♪ ♪
- She died two years ago.
♪ ♪
- Were you with her?
- Nope.
I was halfway around the world.
♪ ♪
My parents were, and my kids.
♪ ♪
[sighs]
♪ ♪
[tense music]
♪ ♪
- Colette is here.
♪ ♪
- All right,
next up, we've got Bobby.
Bobby, come on up here
and show us what you got.
- Hey.
- Hey, uh,
I just want to let you know
that there's some people here
looking for you.
[tense music]
- OK, yeah, we just got made.
♪ ♪
Oh, wait, we gotta go.
♪ ♪
Hey, Colette.
Colette, we just want to talk.
Colette.
Colette, stop. Colette!
- Get out, get out.
- Everybody get out! Stay calm!
Keep moving! Move behind me!
Go, get out!
- Stay back.
[dramatic music]
- Drop it.
- You first.
- Please don't!
- Shut up!
♪ ♪
You put the g*n down
right now, or I'll k*ll her.
I'll do it!
- Hey, hey, hey.
Hey, it's just us, OK?
We just want to talk.
- I don't want to talk!
I want you to let me out.
Now put the g*n down.
- I can't do that.
OK, OK, OK.
g*ns down. g*ns are going down.
You see?
His g*n's down,
my g*n's down, all right?
Your turn. Put the knife down.
Look, I know that
you're scared right now,
and I know that
you don't want to hurt her,
but if your dad was here,
what would he say?
- Don't talk about him.
- OK, OK.
Why don't you talk about him?
Tell us.
Tell us what he was like.
He loved you very much, right?
He kept you safe.
We are trying
to keep you safe right now.
He protected you,
when you were young, from Liza.
- She's horrible.
She charms everybody,
and they don't know
the real her.
She told me all the bodies
downstairs woke up at night,
and if I didn't stay
real still in my bed,
would come up and find me.
So I didn't even get up
to go to the bathroom,
and everyone loved her
and hated me, except my dad!
[gasps, grunts]
- Get back, get back.
Go behind me.
Go, move.
- Stop moving.
- Got it.
- [grunts]
- Stop.
- [groans]
- Calm down.
[tense music]
- Look at me.
Where's Marty?
- [panting]
- Where are you keeping Marty,
Colette?
- He was pretty dehydrated
when I left.
I don't think he has much time.
♪ ♪
- Hey, my name is Special
Agent Rebecca Henderson.
I am not here
to intimidate you.
I'm not here to threaten you.
I'm here to talk to you, OK?
- You're a liar.
[ominous music]
♪ ♪
- Hey.
♪ ♪
Clock's ticking.
Local PD is upstairs
taking statements.
I told them we were serving
an interstate warrant.
- OK, if we have to turn her
over to Lazarus,
Marty's as good as dead.
- She says Marty's alive,
but do we believe her?
- I do.
Challenge is
getting her to talk.
♪ ♪
Give me a couple minutes.
- [crying, panting]
♪ ♪
- I know it doesn't
seem like it,
but I am actually here
to help you.
- No, you're not.
You don't care about me.
The only one who cared about me
was my dad, and he's gone now.
- What if he doesn't
have to be?
I'm gonna lay out
your two options, OK?
Option one, you go back
to prison completely alone.
♪ ♪
Option two, you can go
back with your dad--
his voice, at least,
just like in the Pit.
All you gotta do is
tell me where Marty is.
- [sighs]
Why would I believe
anything you say?
You people told me that
the last time,
and then you took him away.
- No, Colette,
we did not take him away.
There was an expl*si*n.
Do you remember that?
- Have you ever seen someone
who's died of dehydration?
♪ ♪
The skin on their face
shrivels up
and contorts like a scream.
I can give you some suggestions
so he looks better
for the funeral.
- That's OK.
♪ ♪
New plan, then. You'll like it.
- [sighs]
[chair scraping]
♪ ♪
[speaking indistinctly]
[suspenseful music]
♪ ♪
[ominous music]
♪ ♪
- Hey.
♪ ♪
Hey!
♪ ♪
Let me out!
- Hey, little sis.
[tense music]
♪ ♪
- Stop it.
- [through voice modulator]
I hear you have been
very bad, haven't you?
♪ ♪
- I know you're dead.
- Dead, alive, who we are...
the essence of our being,
it's so much more
than just cartilage, no?
- This isn't real.
- Then I guess spending
eternity together
wouldn't be a problem for you.
♪ ♪
Look, all I want to know
is where you're keeping Marty.
- Let me out of here.
- Why should I?
You didn't let those men out.
So why should I let you out?
♪ ♪
How about this?
You tell me where Marty is,
or I'll let you rot in there.
- No!
♪ ♪
- ♪ Hush, little baby,
don't say a word ♪
♪ Daddy's gonna buy you
a mockingbird ♪
- Stop doing that.
- ♪ And if that mockingbird
don't sing ♪
- Stop. Stop. Shut up. Shut up.
- ♪ Daddy's gonna buy you
a diamond ring ♪
- [crying]
- ♪ And if that diamond ring
is brass ♪
♪ Daddy's gonna buy you
a looking glass ♪
- Abandoned farmhouse,
Route 13, farm road 8.
- I'm so sorry, I couldn't
hear you through the coffin.
♪ ♪
- Abandoned farmhouse,
Route 13, farm road 8.
[dramatic music]
♪ ♪
[Cyndi Lauper's
"Time After Time"
♪ ♪
- They just found Marty.
He's gonna be just fine.
[siren wailing]
- Marty! Marty!
Oh, my God, Marty!
- Oh, my God.
♪ ♪
- ♪ Lying in my bed ♪
♪ I hear the clock tick
and I think of you ♪
♪ Caught up in circles ♪
♪ Confusion is nothing new
♪ Flashback, warm nights ♪
♪ Almost left behind ♪
- I don't think this is
what the TV is meant for.
- ♪ Suitcase of memories
- Thank you.
- ♪ Time after ♪
♪ Sometimes you picture me
- He's quite good.
- I don't think
you should tell him that.
He'll keep going. [laughs]
- How about you? Are you OK?
- ♪ I can't hear
what you've said ♪
- I don't know.
What we did to Colette,
it's just--
- Hey, hey, hey.
You did what you had to do.
That was the only way
to save Marty's life.
- I know that's supposed
to make it easier,
but it just doesn't.
[sighs]
- ♪ Time after time ♪
♪ If you fall,
I will catch you ♪
- I know the lines can
get blurred out here.
- ♪ Time after time ♪
- But trust me, you're on
the right side of this thing.
- ♪ Find me
Who's coming?
Who's gonna come up
and sing with me?
You're gonna join me. Come on.
- Oh.
- It's you.
- You're up.
- No, I don't sing.
- Yes, you do.
- No, I don't!
- Bex.
- Oh, sorry.
[phone buzzing]
I, uh--
Saved by the bell.
- So convenient.
- Don't leave me
singing by myself.
- Get into it, Henderson.
- All right, Shane.
- Come on. Come on.
Here. Here you go.
Come on, come on. Come on.
♪ ♪
♪ After my picture fades ♪
♪ And darkness
has turned to gray ♪
- Go.
- I've been looking
into Colonel Lazarus.
There's something
you should know.
- Hmm?
- Seven years ago,
a new-hire candidate
at the Pit was flagged
on their security clearance.
Colonel Lazarus personally
pushed it through anyway,
made sure he got the job.
- Sure, the warden,
Oliver Odell.
- No, Shane Florence.
both:
♪ The drum beats out of time ♪
♪ If you're lost,
you can look ♪
♪ And you will find me ♪
♪ Time after time ♪
- It seems like
Colonel Lazarus has known
about Shane for a long time.
- Got it.
both: ♪ Time after time ♪
- That's good.
- Yeah, that was pretty good.
- Really good singer.
[squeals]
both: ♪ Time after time ♪
♪ ♪
[dramatic music]
♪ ♪
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