.
- 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.
[explosion booms]
- I didn't serve, and I haven't been in the field.
That was the first time I've ever drawn a weapon.
You were impressive.
- Are you gonna ask me out, or what?
- No.
Maybe.
- You really think Lazarus attacked Cyrus's convoy?
- I do.
[gunshots] - We still don't have proof.
- Well, we need to find some.
[tense music]
[smooth jazz music]
[laughter]
- You know what else I love about this city?
About Boulder? - Yeah, what?
- The cops on bicycles.
How intimidating is that?
All right, pull over.
Ching, ching, ching, ching.
What do they do when they arrest somebody?
All right, in the basket.
You can always tell the rookie cops.
They're the ones with playing cards in their spokes.
Halt!
Diggy, diggy, diggy, diggy.
[laughter]
- Well, thank you, folks.
Hope you have a wonderful evening.
Say goodbye, Marvin.
- Goodbye, Marvin.
You've been great.
[applause] - Thank you.
Thank you.
♪ ♪
Great crowd tonight, kid.
Break a leg.
- Or a string. - [chuckles]
♪ ♪
- All right, all right.
Please welcome to the stage our next performer--
a debut, in fact.
Put your hands together for Dylan Myles and Lil Barney.
♪ ♪
- Hello.
This is--this is Barney.
I'm Dylan.
So, um, Barney,
what did you do last weekend?
- I met a girl.
Didn't go very well.
- Oh, no.
What happened, Barney?
- She said I was too stiff. - [chuckles]
[tense music]
♪ ♪
W-what? Um--
Why?
I mean,
why did she think you were too stiff?
- Because I'm made of wood, dummy.
♪ ♪
- Bring Marvin back out, yeah?
[cheers and applause]
[jeering]
♪ ♪
- Looks like someone--
like someone--
- [imitates stuttering]
Get off the stage, loser.
[laughter]
♪ ♪
[pounding]
- [panting]
[laughter]
- Somebody should teach that guy a lesson.
[ominous music]
- I was thinking the same thing.
[music intensifies]
♪ ♪
[indistinct speech on TV]
[TV continues indistinctly]
[glass shatters]
[tense music]
♪ ♪
[wind whooshing]
[rustling]
[chilling music]
♪ ♪
- Want to hear a joke?
What's black and blue
and red all over?
- You are. [thuds]
- I'd be interested in eating Thai,
maybe Italian, something like--
[screams]
♪ ♪
- ♪ I will swing ♪
♪ Swing that hammer ♪
- It doesn't matter what we think we know about Lazarus.
Without definitive proof that she was involved
in the attack on the convoy, we have nothing.
- Then we get something. - [scoffs]
Hey, she's way too smart to leave a paper trail.
- Well, anything she does have--
flash drives, hard copies, whatever--
they'd be stashed at her place, which...
only one of us has access to.
- Mm.
- So what are you gonna do?
Invite yourself over and search her place
while she burns another lasagna?
- Shane, this is way too risky. No.
- Why does dinner need to be at her place?
If Shane invites her out somewhere,
you two can go in, have a look around
while he keeps her occupied.
- I mean, I can text her right now.
I'll have eyes on her the whole time.
I can text you guys when we're leaving,
make sure you got plenty of time to get out.
[tense music]
♪ ♪
- All right, fine.
- All right. [notification whooshes]
Done.
[phone buzzing]
- Go for Hassani.
- Hey, are you sure?
- Of course.
- That was Peck. We got work.
♪ ♪
- What have we got?
- Puppet maker was shot in his workshop
near Rapid City, South Dakota.
- Did you say puppet maker?
- I sure did.
- We don't have crime scene photos yet,
but that's our victim, Nicholas Fletcher.
He's currently in a medically-induced coma,
but fingerprints at the scene match Pit inmate H71.
- Ah, Dylan Myles.
- You want to take it from here?
- Yeah. Believe it or not,
our fugitive killer here, Mr. Myles,
was actually an aspiring comedian.
- Of course, because murder is hilarious.
- Mm.
As a kid, he was diagnosed with delayed language development
and selective mutism.
He was completely non-verbal until nearly ten years old.
- That must have been tough on the playground.
- The real breakthrough happened when he started
communicating through one of his sister's dolls,
a common form of projective play.
As he matured, he developed the capacity
to communicate for himself, but he still felt
more comfortable speaking through his proxies.
- But when did he go from talking dolls to murder?
- June 5, 2015.
- Dylan would perform at small comedy clubs
all over the Midwest.
All of his victims were people who
heckled him during the show.
He'd wait for a month or even up to a year
before enacting revenge.
- I can really see the anger.
- And the humiliation.
All he wanted was to connect with people through his act,
which is why when he got teased or heckled,
he would return the humiliation he felt on the victims tenfold,
which is why a lot of the crime scenes
happened in a public place.
He wanted his victims to be seen.
He wanted them to be remembered
in their final moments of indignity.
- Says here he killed seven victims
over a two-year period.
Is there any chance Dylan knew this dollmaker guy
from back in the day? - We're looking into it.
Get going to the crime scene.
We'll send you what we find.
[suspenseful music]
♪ ♪
[light music playing]
♪ ♪
- Ah. [chuckles]
[bell chimes]
Hello?
- We're closed.
♪ ♪
[thuds] [floorboard creaks]
- Excuse me.
[ominous music]
W-who are you?
♪ ♪
- I'm a big fan of your work.
♪ ♪
[chilling tone]
♪ ♪
[dramatic music]
♪ ♪
.
[The Chords' "Sh-Boom"] - ♪ Day dong da ding-dong ♪
♪ Sha-lang da lang-a-lang ♪
[scatting]
♪ Oh, life could be a dream ♪
♪ If I could take you up in paradise up above ♪
♪ If you would tell me I'm the only one that you love ♪
♪ Life could be a dream ♪
- I know what you're doing.
- ♪ Hello, hello again, sh-boom ♪
- Where's Barney?
These are not mine.
Where's Barney?
- ♪ My precious plans would come true ♪
♪ If you would let me spend my whole life loving you ♪
♪ Life could be a dream, sweetheart ♪
♪ Now every time I look at you ♪
♪ Something is on my mind ♪
♪ If you do what I want you to ♪
[crashing]
♪ Sh-boom, sh-boom ♪
♪ La-la-la-la-la-la la-la-la-la ♪
♪ Sh-boom ♪
♪ Sh-boom, sh-boom ♪
♪ La-la-la-la-la-la la-la-la-la ♪
♪ Sh-boom, sh-boom ♪
♪ La-la-la-la-la-la la-la-la-la ♪
♪ Sh-boom, sh-boom ♪
♪ La-la-la-la-la-la la-la-la-la ♪
♪ Sh-boom, sh-boom ♪
- I know what you're doing.
I know what you're doing!
[crashing]
- ♪ Sh-boom, sh-boom ♪
- Where's Barney?
Where's Barney?
- ♪ Sh-boom, sh-boom ♪
♪ La-la-la-la-la-la la-la-la-la ♪
♪ Sh-boom ♪
[monitor beeping]
- ♪ Every time I look at you ♪
♪ Something is on my mind ♪
♪ If you do what I want you to ♪
- What's you name?
- Peter.
- It's nice to meet you.
- What does a guy have to do to get a drink around here?
- You're funny.
- No, I'm not.
I'm hilarious.
- ♪ Life could be a dream, sweetheart ♪
- I think we've had a breakthrough, Dylan.
- ♪ Sweetheart ♪
- You know, he's really good at that.
I couldn't even see his mouth move.
- Um, that's what ventriloquism is.
- Dude's doing group therapy with himself.
As far as Pit treatments go, that feels pretty normal.
I mean, look, the dolls are weird,
but we've seen womb therapy.
- Yeah, well, according to his file,
typical therapies failed to yield any results.
And Dylan refused to speak to the Pit doctors,
so eventually they leaned into his comfort zone.
There's a precedent.
It's a variation of gestalt therapy's
empty chair technique.
- I heard of that.
Basically, the patient has a conversation
with an empty chair, which is supposed to represent
the person he has a conflict with,
giving them a chance to talk out their repressed emotions.
- Yeah, you're right.
So, Dylan, with the dummies,
it allowed him to feel in control of every conversation,
allowing him to externalize his inner world.
- Because he can play patient and therapist.
- He even went so far as to name the dummies.
According to this, Peter and Debbie had
fully developed personalities.
So while Dylan's playing therapy with the dummies,
the doctors have a unique insight
into his core trauma, which was the public shame
of being teased.
- I can't really remember the first time he teased me.
I was six or eight.
- What do you remember?
- Anger.
- He shouldn't have treated you that way.
- He got what he deserved.
I punched him in the stomach, watched him gasp for air.
It was hilarious.
Hey, Dylan, want to hear a joke?
- Sure, Peter, I'd love to.
- What's the difference between a Lamborghini and a dead body?
- I don't know, what?
- I've never had a Lamborghini in my garage.
[maniacal laughter] - [chuckles]
- All right, that's enough of that.
We get the point.
- Well, at least he's not smashing the dummies, yeah?
- Well, speaking of, it says here these dolls were
handmade by Nicholas Fletcher.
- Wait, the guy who Dylan just put in a coma?
- He was special ordered by Pit doctors.
- You think Dylan knew that?
- That's right.
Nicholas Fletcher signs the head stick
on every doll he ever made.
- I've been his assistant for five years now.
I can't believe this happened to him.
The guy is a legend.
Nicholas Fletcher is the preeminent figure maker
in the United States.
You ever heard of Slappy Sammy?
[somber music]
♪ ♪
Jeff Miller uses him in his act,
and Nicholas made him.
- So if you're in this world,
you've definitely heard of Nicholas.
- Oh, yeah.
[ominous music]
♪ ♪
- Whoa.
Thought this guy liked dolls.
- Victim's blood.
- This is definitely not what I expected.
Pre-Pit Dylan, he would beat his victims to death,
but then leave their homes relatively untouched.
Now he's shooting an old man without laying a hand on him
and trashing the whole shop?
- It's like his early days at the Pit when he was
smashing all his puppets.
- Why come all the way here to do that, though?
- None of these look like Debbie or Peter.
♪ ♪
- OK, you're Dylan.
You leave the Pit and you lose your ventriloquist dummies
in the blast.
So you look up the guy that made them.
You come here to repair or replace them.
- But you don't find what you're looking for.
So you go nuts and you trash the place.
- So where does Dylan go from here?
- I think Dylan came here to find another Peter and Debbie,
and I don't think he's gonna stop looking until he does.
Give me a sec.
[doll squeaks]
[pensive music]
- Hi.
I'm so sorry to bother you.
I need to see Nicholas's sales records,
names, numbers,
anyone who might have bought a dummy from him.
- I told the cops already.
Nicholas's ledger, it's gone.
- What about computer records?
- No, Nicholas is old school.
He only keeps handwritten records.
Sorry.
- Thank you.
Hey, guys.
Looks like Dylan stole Fletcher's sales ledger.
If he's looking for another Debbie and Peter--
- That means anyone who's ever bought either of them
is in danger.
- Hey, Morales, I need you to scrub the internet.
Look for anyone who's posted about or with
a Peter and Debbie dummy. - On it.
- Keep us posted, OK?
- OK, get you something when I have it.
♪ ♪
- [screams]
[chilling music]
♪ ♪
[floorboard creaks]
♪ ♪
[gasps]
♪ ♪
.
[helicopter whirring]
[suspenseful music]
- Got another one. Gary, Indiana.
- Me too. Galveston, Texas.
- But none of them are Peter or Debbies.
- All right, get me addresses.
I'll send the black and whites to keep a lookout.
- I had no idea so many people had talking dolls.
- Figures. - What does?
- No, the community prefers the term figures over dolls.
[computer beeps]
- Oh, crud. - What is it?
- A woman named Jane Hines was just found shot dead
in her home 20 minutes from Fletcher's shop.
- Is it our guy?
- He was carrying a wooden figure.
- Yeah, that'll do it.
All right, get this to Bex.
I'll call the locals and give them a heads up
that the team's on the way.
[distant siren blaring] [radio chatter]
[somber music]
♪ ♪
[camera shutter clicking]
- Jane didn't have any enemies.
Everyone loved my sister.
- I'm sure they did, ma'am.
Y'all must be the Feds.
We heard you were coming.
- Yeah, your sergeant already briefed us.
We'll take it from here.
- I'm sorry for your loss, ma'am.
♪ ♪
- Why don't you give me a minute?
- Sure, yeah.
- It's Kari, right?
- Yes.
- Do you mind if I ask you a couple questions?
- Of course.
But I don't know anything.
- You might know more than you think.
♪ ♪
This might sound odd, but did your sister own
any dolls made by a man named Nicholas Fletcher?
- A doll?
No.
Jane really wasn't the doll type.
♪ ♪
- What is it?
- Well, that name, Nicholas Fletcher--
I've heard it before.
[phone buzzing]
- It's Lazarus.
Says she leaves for DC tomorrow,
but she's down for dinner tonight
if we make it back in time.
- Well, sounds like she's taking the bait.
Nice work. - Hey.
So turns out Jane didn't own a dummy,
she was the inspiration for one.
- What?
- According to the sister, she met Nicholas at a county fair,
and he asked if she would model for one of the dummies.
- Debbie the dummy is based on Jane.
I don't know why, but that makes all of this
a lot creepier.
- So maybe Dylan shows up, looking to meet
the real-life version of his doll.
He freaks her out, things go bad, and he kills her.
- I mean, if a guy's showing up at my front doorstep
saying he lived in a missile silo
for eight years playing with a doll version of me,
yeah, I think he might be nuts.
- Yeah, sure.
But if Jane rejected him or called him crazy,
why didn't he beat her like he did all the other victims
who humiliated him?
- No, you're right.
Shooting her in the head is perfunctory, not rage-driven.
- But even if Dylan just came here looking for answers,
how did he even know about this woman?
- I spoke to Ronnie,
Nicholas Fletcher's assistant.
Apparently what makes every Nicholas Fletcher dummy
so special is the fact that they're
all based off of real people.
That ledger wasn't just a bill of sales,
it had a record of every real person whose likeness he used.
- And now Dylan has that too.
OK, so if Jane is the basis for the Debbie dummy,
then we need to figure out who the inspiration for Peter is.
That's where he's going next.
[wild laughter on TV]
[suspenseful music]
- I actually like you a lot more now, Jeff.
[laughter]
So was it love at first sight? - Pretty much.
- I asked Nicholas Fletcher very nicely
to make me another Peter doll.
Huh.
And he still refused.
- Are you gonna let me go when you're done?
Please, talk to me.
♪ ♪
- That scar is new.
What happened?
- R-rock climbing.
- Hmm.
Interesting.
I hear it's very dangerous.
♪ ♪
- [sobbing]
- Please, stay still.
Peter needs to look just like you.
[chilling tone]
- Hey. You get something?
- Yeah, speaking to Fletcher's assistant got me thinking.
So I checked into Jane's finances.
- Smart. And?
- And in Jane's bank statement,
I found a $500 money order that Fletcher sent
to her back in 2015.
- So we can now then go-- - Already did.
- Here are all the money orders
that Nicholas Fletcher ever sent.
And here are who he sent them to.
- Morales, can you enlarge
four in, second row from the bottom?
Kind of looks like the Peter doll, right?
- Keith Jones.
- Looks like he's a Nebraska native.
Lives just over the Wyoming state line in Scottsbluff.
- I'll tell the team.
- Then get your gun.
You too, Ben.
We're way closer than Bex and the team.
I'll tell them we got this.
[tense music]
♪ ♪
[tires screech]
♪ ♪
- Ben.
♪ ♪
- Looks like Dylan took off.
Gun!
[gunshots]
[groans]
[dramatic music]
[gunshots]
♪ ♪
- Peck's hit.
- Which way?
- He went out the back.
- [Peck groans] - You're gonna be OK.
Just hang in there, John.
We're gonna get you to a hospital.
[breathing heavily]
You got this.
[dramatic music]
.
[suspenseful music]
- Dylan's in the wind.
He had a car stashed out back.
I lost him. How is he?
- [groans] - He needs a hospital.
Hep me get him outside.
- [groaning]
- OK.
- We passed a hospital in Bluffside,
just a few miles back.
- Stay here. Secure the scene.
Tell Bex and the guys what happened.
We need to find Dylan.
[jet engine whirring]
- OK.
One sec.
- Yo. - Can you guys see me OK?
- Yeah, we got you, Ben. What's up?
- What happened? - Dylan ambushed us.
Keith was dead before we got here,
and Peck got shot. - What?
Is he OK? - Where did he get hit?
- Bullet clipped him in the side.
He was bleeding a lot.
- OK. Why aren't you with him?
- Morales is taking him to the hospital.
She asked me to stay behind and walk you
through the crime scene. - Love that woman.
All right, give it to us.
- You seeing all this?
- Uh-huh.
Oh, what's that?
- What? - No, back.
The box on the table. Yeah.
- It looks like a doll-making kit.
Eyeballs, paint--
Dylan stole it from Nicholas Fletcher's shop.
- He's remaking the dummies.
He lost Peter and Debbie in the blast,
so now he's visiting the inspirations
that they were based on in order to remake them.
I mean, look at the kit.
You don't lug that around unless you're using it.
There were some unfinished, blank-faced dummies
at the workshop.
That's why he went there.
So now he's got the dummy, the dummy-making kit.
He's remade Peter and Debbie.
- OK, he's got his dolls, so where does he go next?
- Oh, and why smash up the place?
I mean, look at that TV.
Looks like he's used it as a punching bag.
- What are those videos on the ground?
- It seems like a mixed bag of comedy shows,
solo performances, bootleg specials,
how-to comedian videos.
- Wait, no, back it up.
That open DVD, what is that?
- "Live with Jeff Miller and Mr. Bonkers:
A Killer Good Time."
- You don't think Jeff modeled Mr. Bonkers
after Dylan, do you?
- That's exactly what I think.
- Hi, everybody.
I'm Jeff, and this is my friend, Mr. Bonkers.
Come on out, Mr. Bonkers.
Say hi. - I don't wanna.
- Why not?
What's there to be afraid of?
- It's just so humiliating.
- What?
Nobody's gonna laugh at you.
- I know. That's the trouble.
No one laughs.
- Well--
- But if I can't kill 'em with comedy,
I'll hammer home the humor.
[maniacal laughter]
[applause]
- That's a bit violent, isn't it?
- And?
- Well, you can't just go around killing people.
- Why not?
How do you think I got these nifty striped pajamas?
[laughter]
- I'm guessing Dylan wasn't too flattered about this.
- Nope. It's the ultimate form of heckling.
If anything could trigger Dylan's rage, it'd be this.
So he gets out of the Pit,
finds out that another comic got famous using him
as the punchline.
[tense music]
He's going after Jeff next.
♪ ♪
- Well, here we are.
Beautiful house.
All that touring money, must be nice.
You know, the first time I ever saw the special,
I was hiding out in a shelter right after the blast.
They had a Goodwill with all these $0.99 DVDs.
- Oh, my God, with the sob story.
Why are we sitting on our asses?
- Be nice.
Dylan needs time to process everything, find his voice.
- I think he's changing his mind.
- I'm not.
- You're making the right decision.
It's been a long time coming.
This guy's gonna get what he deserves.
- What do you think, Dr. Debbie?
- It's like I always say, Dylan,
you need to make your own decisions.
- He's a hack.
♪ ♪
- I want to hurt him.
- Then I think it's important that you hurt him.
- I want him to feel exactly how I felt
the first time I saw that video.
Hey, Peter.
Knock, knock.
- Who's there?
- I'm-a.
- I'm-a who?
♪ ♪
- I'm-a go kill Jeff.
[ominous music]
♪ ♪
[glass clinking]
- Knock, knock.
♪ ♪
- You--
- No.
That's not how the joke goes.
- You shouldn't be here. I'm calling the cops.
♪ ♪
- I saw your act, Jeff.
I gotta say, I didn't laugh.
♪ ♪
.
[siren blaring]
- Morales.
- Hey, Bex.
- How's Peck?
- He's still in surgery.
He lost a lot of blood.
I-I should have cleared the whole house before I--
- Hey, stop.
Morales, none of this is your fault, OK?
It was your quick thinking in getting him to the hospital,
that is the reason he's alive.
- Yeah.
Yeah, OK.
[tense music]
- Look, I know that you and Peck are close, OK?
When he comes out of surgery,
it's gonna be your face
that he wants to see.
- Get this guy, Bex.
- On it.
♪ ♪
- It was a joke.
I thought you were dead.
Please,
just take the dummy.
Let me go.
- Stay still, please.
- I'll do anything you want.
Anything.
♪ ♪
- Jeff,
meet Dead Jeff.
♪ ♪
What do you think?
- You're insane.
- I don't think he likes us.
- Me neither.
- And I don't care.
- Me neither.
♪ ♪
- Hey, guys, police just got to the scene.
Dylan and Jeff are both gone,
but there's clear evidence of a struggle.
- Is there a body? - No.
And from the looks of it,
this just became an abduction case.
[dramatic music]
[engine revs]
[tense music]
♪ ♪
- Come on.
Get up.
- [panting] Please.
♪ ♪
[siren blaring, engine revving]
- I sent you the security footage from Jeff's house.
This is from 30 minutes ago.
- He's keeping Jeff alive?
- Well, he took him alive.
Don't think the plan is to keep him that way.
Question is, what is he gonna do with him?
- OK, so Dylan's ultimate trigger is humiliation.
It makes sense that he's going after Jeff.
With Keith and Jane, their kills were pragmatic.
He needed to remake his dummies.
But Jeff is who he really wants.
- Jeff!
I didn't know you were coming in tonight.
Hey, are you OK?
[grunts, thuds]
- You don't have to do this.
- OK, well, if this is about humiliation
like his other kills, then I would say
he's planning something public.
- For that, he'll need an audience.
[indistinct chatter]
[soft dramatic music]
♪ ♪
- Hello, folks. It's good to be back.
We're gonna start the show a little early tonight.
♪ ♪
I want to introduce you to someone.
This is Dead Jeff.
[ominous music]
♪ ♪
Hey, Jeff.
Looks like you had a rough night.
- You should see the other guy.
[laughter]
[chilling music]
- All right, Ben, what do you got?
- There are 12 dedicated comedy clubs
in the greater Denver area
and another 18 venues promoting open mics tonight.
We don't have time to check them all.
- Wait, they both performed at a place in Boulder called
the Colorado Comedy Club back in 2015.
And it looks like a few years ago,
Jeff Miller bought it.
[suspenseful music]
[siren blaring, engine revving]
- You know Jeff, I don't think that was heaven.
- Go to hell.
[laughter]
- How many of you recognize my friend here?
Who knows who Dead Jeff is based on?
- Jeff Miller.
- You got it.
This is Dead Jeff Miller.
- Oh, you're hilarious.
- But, you know, really, I should rename you
Not Dead Yet Jeff.
But what do you think?
Should I kill him?
♪ ♪
I'm serious.
Who here thinks I should kill Jeff?
♪ ♪
- Um, I don't. Does that count?
[laughter]
- No.
Come on.
Jeff "the Dud" Miller got famous
off an act that wasn't his.
He stole it.
Did you all know that?
Mr. Bonkers?
Please.
I say we kill him.
♪ ♪
Should I do it?
- Whoo!
[clapping]
- Yeah?
- No, no, don't do it!
[crashes]
[tense music]
♪ ♪
.
[tires screech, siren blares]
[suspenseful music]
♪ ♪
- Hey, watch your background.
It's full of friendlies in there.
- Copy that. I'll circle around the front.
♪ ♪
- [panting] Yeah, all right.
That was just the warm-up.
Buckle up, everyone.
♪ ♪
[crowd gasping]
[panicked murmuring]
- I'm calling the cops.
- This isn't funny. - Oh, I disagree.
I think it's hilarious.
[screaming]
- FBI, drop your weapon!
- Everyone out! Get out. Get out the nearest exit.
Keep your head low. Stay calm.
Keep your heads down. Keep moving.
You're all right, just keep moving.
Get out. Everybody out.
- It's over, Dylan.
You made your point, OK?
Let him go. - My point?
He's a hack.
Got famous using me as a prop.
- And you wanted to humiliate him in return, right?
Well done, you did that.
- Just one more step,
and I pop his head like a cherry.
- You're not gonna do that.
Think about it, Dylan.
What's worse than dying?
Let him live with this.
He's the idiot who got humiliated on his own stage
by his own dummy.
He will never recover from that.
♪ ♪
You want to humiliate him forever?
Don't kill him. Let him live.
♪ ♪
Dylan, put the gun down.
- You're right.
My job is done.
Hey, Jeff, what's red and full of holes?
Me. [gun clicks]
[dramatic music]
[thuds] No!
Don't send me back.
- I got him. Shane, get the gun.
- Copy.
- You OK? - All right.
- Yeah. - You sure?
- Thank you. - Come on.
- Hey, Ben, we're gonna need an ambulance.
- Copy, contacting dispatch.
ETA ten minutes.
[soft music]
- Easy there.
Those are some pretty heavy painkillers.
- These pills are good. [chuckles]
[winces]
- Let's get you to bed before they wear off.
- That sounds nice.
Have I told you how beautiful you are?
- [chuckles] OK there, Casanova.
You can tell me that when you're sober.
- Okay.
- Shane just sat down to dinner with Lazarus.
- Got it.
Find anything on Noah Cyrus and the convoy?
- Nothing in there.
[melancholy rock music]
♪ ♪
- ♪ Sweet like honey ♪
♪ Taken from the blade ♪
♪ ♪
♪ Joy dies slowly ♪
♪ Don't let it go to waste ♪
♪ ♪
♪ Oh ♪
- Searched everything.
This place is clean.
- Yeah, because she's too smart to leave anything around
for us to find.
♪ ♪
- ♪ It's dangerous ♪
- [groans] Getting shot hurts.
- I don't know what you expected.
Here, let me help you.
There we go.
- [grunts]
- Hey, what happened here?
You been out shooting a rifle or something?
- Shh.
- Uh-- - [groaning]
- But I-I thought that you said you--
you didn't shoot. - [grunts]
Secret stuff.
- What do you mean?
- We don't talk about missions.
- ♪ How far can we go ♪
♪ Till there's nothing left ♪
♪ ♪
♪ It's dangerous ♪
[gunfire banging]
- Tango down. All clear.
♪ ♪
In position.
♪ ♪
- Breach. Breach.
[explosion booms]
[dramatic music]
[gunshots]
- Target eliminated.
♪ ♪
[dramatic music]
♪ ♪