.
- I've got 10 victims.
[camera shutter clicking]
- Stab wounds are placed to avoid any major organs.
- So they bleed out slow.
- The offender is choosing them
because they have someone they love.
How are you, still running?
- Running hasn't fixed my head.
I'm just going to focus on work now.
- We got him. - Matson.
The lock keep.
- Matson knew who they loved, who came to save them.
- The one phone call.
- Ma'am, we have a search warrant for your home.
Arrest warrant for your husband.
Is he here?
- Matson listened.
He watched.
He chose them.
- Voight, are you here?
Something's wrong. I think he was taken.
[dramatic music]
- A neighbor confirmed it.
She saw a white male, 40 years of age
go around the back of Voight's house 30 minutes ago.
- Matson? - Yeah.
I showed her a six pack.
She ID'd him, said he was wearing a baseball hat,
but that it was him.
She thought it was one of Voight's cop buddies,
thought it was one of us.
- Did she see them exit?
- No, didn't see Matson break in,
didn't see them leaving the house.
She went back to watching her TV.
Didn't see a car parked in the front or in the back.
Crime lab's on the way.
No one else has been inside.
I didn't see any signs of blood,
but there could be trace amounts of it.
- His phone?
- It's on the floor, along with his gun.
- And no sign of struggle?
- No.
How the hell did Matson get here without us knowing,
without Voight putting up a fight?
Why would Matson take such a risk?
- Because he knew we had him, and he wanted one more,
one more that was important to him.
♪
- All right, OK, all right.
All that matters is that we move, we work.
Matson entered the house.
He left with Voight.
They have to be in a car.
So we run with PODs, all cars registered to Matson,
all stolen vehicles, and we put Matson's face out everywhere,
a citywide alert, all right?
So let's work.
♪
- No, that is not the question I asked.
I need to know all properties,
all vehicles that your husband has access to.
- Whatever you think he did-- - Ma'am, vehicles & properties.
- He's a God-fearing man. - Ma'am.
- He's my husband. - Ma'am.
- He hasn't committed a crime.
- Ma'am, if I have to bring you down to the district, I will.
Do you understand?
I'll separate you from your daughter.
You need to answer my questions.
- Have you seen your dad today? Have you talked to him?
Did he seem normal?
- My teacher says everyone's normal is different.
- Yeah, well, that's true.
But have you seen your dad today?
- Yes.
- When?
- I was home from school. It was early release.
- So middle of the day?
- Mm-hmm. - OK.
- He forgot he was supposed to watch me.
He just came and went instead. Took things from the garage.
He didn't even come inside to see me.
- What kind of car was he driving?
Lucy said Matson was driving a gray sedan.
It's not a car the family owns, and she's never seen it before.
- None are registered to him?
- We're assuming he's sticking to his MO, assuming it's stolen.
- I'm going to hash these right now.
- I showed Lucy photos.
She identified all later model sedans.
It's probably a model from the '90s or the early 2000s.
- Did his wife see it?
- Doesn't sound like it, but she lawyered up.
She's not saying anything else,
and she's not letting us question Lucy further.
- I got something.
There's only one POD on Voight's block,
so we only got one angle, but right there, gray sedan.
- What's the time?
- It's within minutes of our timeline of Voight being taken.
Plates come back to Rebecca Sterling, 52,
address Gage Park.
Hasn't been reported stolen yet.
- I'll get a BOLO and I'll call out now.
- OK, run Rebecca.
Get a patrol car out to that address and track that car.
Track its movements right now.
- I'm on it.
[tense music]
[click]
♪
[click]
- [shallow breathing]
♪
.
- I can't get close enough to get a good view of the driver,
but it's definitely male.
Don't see anybody else in the car.
- He'd have them in the trunk.
He always keeps them in the trunk.
- Car's been traveling for the last 15 minutes.
Last time I had it, it was on 23rd.
- No, it won't be this easy.
Matson knows these cameras.
He's going to avoid them or he'll turn them off.
- We have them flagged. He doesn't have access.
Also, he's not a genius.
He doesn't have the whole city's cameras memorized.
- I got the car. It has to have stopped.
- Where?
- Car takes an exit onto a dead end road
and doesn't come back out.
There's not much there.
It looks like an abandoned factory.
Place looks desolate.
- This is it. This has got to be it.
- And this definitely fits Matson's previous pattern.
He held Noah up in an abandoned pallet factory.
This feels the same.
- Patrol hit the sedan owner's home.
Rebecca Sterling-- last she knew,
the car was parked in the driveway.
It's gone now.
- This is it. We're hitting that factory.
Let's get CPIC on the horn.
We'll get blueprints on the way.
- Hey, what's going on?
I just got off the phone with Platt.
Is Voight really gone?
- We've got a location. We're hitting it right now.
We'll get him back.
- Hey, do you have a warrant? Do you need my help?
- We'll ask for forgiveness.
- [deep breathing]
- [sighs]
[grunts]
What did you do to me?
- Librium.
- My drink at the bar?
- Yes.
Wasn't very elegant,
but I was running out of time.
I knew you were going to ID me.
I knew my time was up.
I had to move first.
I had to have you.
Do you know what comes next?
- I die.
- No.
Not yet.
You get one call,
one call to someone you love.
You have them come get you.
[tense music]
♪
- Who do you think I would call?
♪
- [laughs]
I didn't know at first.
You've been my favorite to watch,
my absolute favorite.
Do you know they call you a lone wolf in the department?
An island?
I believed it at first.
Your wife is dead, your son,
your old partner.
I thought you were alone.
But the more I watched, I saw...
you aren't really.
There is someone.
She looks at you like a father.
- [scoffs]
I'll never call anyone.
- [sighs deeply]
♪
[flesh squelching]
♪
Everyone makes the call,
eventually. - [grunts]
- You're going to call Hailey.
- [strained grunting]
[panting]
♪
- [sniffles]
- [grunts]
♪
.
[dramatic music]
♪
- I got it.
[police radio chatter]
- I got it. [grunts]
♪
Here we go.
Clear.
- Clear.
- [panting]
[grunts] [door clicks]
[door slams]
- Are you ready to call?
♪
- Ready? - Go.
- We got to announce. Place still has owners.
♪
- That's what you get off on, watching me bleed?
♪
You like this?
Well, you should enjoy it.
My team is going to be here soon.
They're going to put a bullet in your skull.
Or maybe they'll make it harder on you,
play with you too.
- Clear.
- Chicago police! Hey, everyone!
- Chicago PD! Hands where we can see them!
- Hands up! Up, up! Let's see your hands!
Get your hands up!
- Hands, hands! Let's go, let's go, let's go!
Move, move, move, move, move! You, I want you on the wall.
- Hands up! Let's see them hands!
- Do not move! Hands up!
- Hands! Don't move!
Stay down.
- Hands up, hands up, hands up. - Let it go.
Let it go. Let me see your hands.
♪
- He ran? - Yeah.
- Is there anyone else back there?
- Nope, I'm all clear.
- Hey, have you seen these men?
- Mm-mm. - Have you seen these men?
- Mm-mm. - Have you seen them?
Hey, hey, have you seen these guys?
Have you seen these guys? [police radio chatter]
Have you seen these men? - No, they ain't here.
- They--were they? - No.
- Wake up, wake up.
Focus.
- Hey, seen these men?
- I don't know. I don't know.
- Yes or no.
You either have or you haven't.
- No, I don't think so!
- Hey, this ain't right. Those men aren't here.
- Who owns the gray sedan? Who drove that gray sedan here?
- Hey, wake up. Hey, wake up. Hey.
Wake up. - Yo, come on!
- Hey! - Police can't do that.
- Wake up. Open your eyes.
- Hailey. Hailey - Wake up.
I need you to look at me. Look at the phone here.
- Hey. - Look at the phone.
- Let's go.
Look around. It's not helping.
♪
- How'd you get here, huh? How'd you get here?
[indistinct chatter] - You walked?
You walked all the way over... - Come on.
- Is that your gray sedan out there?
- I'm fine. - They got it.
Let's go.
Come on. Come on.
Voight's not here.
The car's not Matson's.
He'd never bring Voight to a place with this many people.
You know that.
This is a bad lead.
- OK. - You've got to take a breath.
- Excuse me?
- You running hot like this, it's not helping.
- No, no, no, no. - I know you.
- We're not doing this.
We're not doing your rehab nonsense right now.
This is not about me.
Matson has Voight.
He took him.
We all know what that means.
He's going to watch him die.
He's going to stab him and let the blood drain out of him.
And it's happening right now.
- Yes, it is. So we use it.
We know Matson. We know his MO.
Just take a breath and use it.
We're going to find him.
♪
- This is what I enjoy.
I don't know why.
I did all of the things you do.
I got married, had a child,
friends, job, felt nothing.
But this--
when I watch you and Hailey tonight,
when I watch you die side by side,
I'll feel something.
I'll feel new.
- You'll feel nothing.
She's not coming.
- You'll call her.
- [chuckling]
You watched me for months, hmm?
What makes you think I would call?
- You know,
I watched her too.
She doesn't have anyone but you.
She's broken, unhappy,
but she loves you, is tied to you,
wants to impress you, like a daughter would.
- She's not coming.
♪
- Yes, she will.
Everyone's scared to die.
- I'm not.
I'm not going to let her come here.
♪
[tense music]
♪
[flesh squelching]
[yelling] - Oh, no.
What did you do?
Why did you--you don't know.
- [groaning]
- You don't get to move.
This is not the way! - [groans]
- You are not dying yet. Not yet.
♪
This is not the way.
[grunting]
No, no.
You're not going to die yet. No.
♪
No! No!
♪
.
- Got it confirmed, the sedan we've been tracking
is a dead end-- owner's son, Joseph Sterling,
was one of the junkies at the factory.
He took his mom's car without letting her know,
went to get high.
- OK. What else do we know about Matson?
What else do we know that we can use?
- We're going to need a location,
somewhere private, isolated, without any witnesses.
- More than likely, it won't be connected
to him on the surface.
He knows that's where we'll search first.
- OK, so we're looking at far-reaching connects.
- Yeah, we're already pulling them.
- And he needs another victim.
It's always been two victims. Not going to change now.
- He'll want someone connected to Voight.
That could be any of us.
- Mm-hmm, well, let's trap and trace all of our phones,
even the hard lines.
Platt, Chapman, that includes you, too.
- I can get that ball rolling.
- OK. And what about the burner?
Matson's going to need a burner phone to make that call.
He's not dumb enough to use one connected to him.
- But we can still trace it anyways.
If he bought a burner, even in cash,
there'll still be a trail--
convenience store near his house,
any place that sells pay-as-you-go phones.
- Good. We can do the same in case he stole one.
He could've nicked one out of the evidence lockers in holding
or out of ERPs, could be anywhere he had access.
- We could also do a tower dump here at holding
and at Voight's if the phone was ever on.
So this is good. We can work this.
[soft dramatic music]
♪
- You're right, Sarge. I'm not you.
You go cross whatever line you're going to cross.
But you remember that you are dragging me to the other--
dragging me to the other side with you.
[gunshots]
- [pants]
- [crying] I can't live with it. I can't.
♪
- You OK, Hailey?
- I'm fine.
♪
- We've got Tact hitting every location so far.
So no matter how closely linked,
a team of two will search the premises.
So if Voight's at any one of these locations,
we'll find him. - OK.
And I reran every other stolen gray sedan.
Most are recoveries. Nothing else popped.
- Could be an out-of-state steal.
- Or they haven't reported them yet.
- Where are we on the burner phones?
- We've got trap and traces up.
I've got 10 potential burner phones so far.
- We can confirm Matson buying,
four went missing from holding, three went missing from ERPs.
Matson could try using any of them.
- So how do we--
- I've got emergency warrants on all of them.
- Almost got them up. [keyboard clacking]
- Used every favor I've got.
- Nothing on my phone yet.
- Yeah, none of us have been contacted either.
Matson hasn't made a move.
- He could reach out another way.
- It's possible,
but this is part of his signature, one call.
He's going to want it to feel like his other kills.
He'll want Voight to make a call.
- All right, I got him.
Most of them are off, but three of them are on right now.
- These are three of the burners we ID'd?
- Yeah.
- Where are they pinging?
- One is outside of Gage Park,
the other some abandoned stretch in Humboldt,
and the old warehouse district on the north side.
- All abandoned, isolated locations.
All three fit his MO.
He could be any one of these. - Oh, he's baiting us.
- We don't know that. - Look at this.
Spread out all over the city. He's playing with us.
- There's no way to know that for sure.
One of them could be real, Adam.
- We're just wasting our time.
- OK.
OK. We do both.
We keep Tact hitting the locations we've already ID'd.
We split into pairs. We each take a burner location.
The rest of us keep digging, keep searching.
We do it all, so we don't let him get ahead.
[dramatic music]
♪
The burner is pinging somewhere around here.
It's probably outside one of these buildings.
Let's split up. I'll take east.
You take west.
- Yeah. Radios on.
- Yeah.
♪
[train horn blaring]
♪
[gunshots]
- I got three shots. Sounds like the far west side.
They're close, but I don't have eyes on the shooter.
I'm calling for backup.
- Copy you. I heard them.
♪
[single gunshot]
- Jo?
- One shot now. That was him.
Shooter sounds like he's moving further west.
I'm headed that way now.
- Jo, I've got the phone.
I think Matson's here.
- What?
OK, Hailey, stay put. This doesn't feel right.
This could be a trap.
Hey, are you copying me?
You could be Voight's connect.
He could be baiting you right now.
- He could be here.
I'm going in. - Hailey, wai--
♪
- Jo, I've got eyes on the sedan.
It's parked inside.
No license plate, far east side, garage door.
- Hailey, get out of there.
♪
- Drop your weapon and get on your knees!
- I'm not going to do that.
- Drop your weapon, or I will shoot you.
- I don't think you will. - Drop it.
- If you shoot me, you won't find him.
- I'll shoot you in the kneecaps.
Then you can still talk.
Drop your weapon.
- I won't talk.
- Where is he?
Tell me.
- If you want to find him, I'll take you there.
You just have to come with me.
♪
Or I can let him die all alone.
- I'm not going anywhere.
Tell me where he is, or I'll shoot you.
- You aren't going to shoot
because you don't know if I'll talk.
And that's too big of an assumption to bet a life on.
♪
There's nothing I want, but you.
You can keep going through all the options,
but they won't change.
Kill me, shoot me,
or let me take you to him.
♪
What do you want?
♪
.
- What'd you get into this time, Hank?
- Is this what it felt like?
- [sighs]
- I'm OK to go out like this.
- She's not.
There's more. [thud sound]
You don't get to die yet.
[thud sound]
- [breathing heavily]
[soft dramatic music]
[grunting]
♪
[panting]
[grunts]
- Get out, now.
Get out nice and slow.
- Where is he?
- I'm taking you to him.
I haven't lied.
I won't lie to you.
Don't come closer.
Walk to the door.
♪
- Tell me what to do, and I'll do it.
How do I fix it?
If you free my hands, I'll cooperate.
- All the way to the hood.
♪
Keep facing that way.
[keys jangling]
[both grunting]
- [yelps]
- [grunts]
[frantic music]
[lock clicks]
[gunshots]
♪
[banging on door]
- [grunts]
[grunting]
[zip snaps] [yells]
[groans]
♪
Voight!
♪
[lock clicks]
- No.
No. No.
No! No!
No.
.
- Come on, come on, come on. Come on.
- What are you doing here?
- OK, OK. - [scoffs] You don't think.
Why don't you think? - OK.
- Do you ever think of your own safety?
- OK.
- Why would you do this?
- It's OK. It's OK. - I'm not worth it.
Did you think I would want this?
No Dad would want this.
- What?
- You can't be here.
- I am here. [bang on door]
- [whimpers, grunts]
- Hank.
Hank. [banging on door]
♪
Come on.
[door crashing]
[footsteps approaching rapidly]
- The door.
Help me. The door.
- OK. OK. - Help me. Help me, the door.
- OK. - Move.
That side of the door.
We use the door.
[banging on door]
[both grunting]
[gunshot] - [yells]
- [yelps]
- Ah!
- [grunting, growling]
[frenzied music]
♪
- Stop, stop.
♪
- There, your side.
You're shot.
- I know. I'm OK.
[panting]
[groans]
[dramatic music]
[line trilling]
OK. [panting]
Platt? Hey, it's Hailey.
Please come find us. I don't know--
I don't know where we are.
10-1.
Yeah, just find us.
[phone clatters]
♪
- Hailey. Boss.
Hey, you all right?
- Hey. Take him.
Mine didn't hit anything. It's fully through.
- OK, we'll get both of y'all, OK?
- 50-21, officers down. - Down here!
- Initiate the officer down detail.
♪
[soft indistinct chatter]
- Hey.
♪
- Yes, I know I said 48 hours.
And all of your levels have stabilized.
The last round of tests came back right where we want them.
But another day's stay is certainly encouraged.
- But not required.
- No, not required.
[medical machines beeping]
[door clicks]
- I'm ready to go.
- I got it. I got it. - [sighs]
Haven't felt this good in years.
Thank you for finding me.
- You're welcome.
You know, you said something to me when I showed up.
"No Dad would want this."
- Hm.
[chuckles] I don't remember saying that.
- [laughs] Yeah, you didn't seem all there.
- No, I don't think I was.
It makes sense, you know? I mean, Matson was...
He was telling me things... [grunts]
You know, about me and you.
[groans]
Am I bad for you?
- What?
Of course not. That's what he told you?
- Implied.
- And are we listening to him?
You have nothing to feel bad about.
Feel guilty?
That man was insane.
- Yes, he was.
- You are not bad for me.
You didn't mess me up, Voight.
I came this way. [laughs]
It's why I came-- why I became a cop.
I'm pretty sure I've just been
remaking my childhood every day, making myself the victor.
[distant sirens wailing]
I don't want that to be true.
[soft dramatic music]
I don't want to still be affected by my childhood,
to be an adult stuck in some cage she made.
♪
- What do you want?
- I don't know.
- I think you do.
♪
- I just want to feel better.
Be better, you know?
♪
Start over, I guess.
♪
- To leave?
♪
- I don't want to leave the team.
Don't want to leave you.
- You can't lose any of us.
♪
But you want better for you.
Maybe you want more, different.
Go get it.
Me, you won't lose me.
I got you.
It's not conditional.
♪
- [sighs] What if there isn't more?
- There will be.
♪
- What if I don't deserve more?
- You do.
[soft uplifting music]
♪
[chuckles] You do.
- [grunts]
♪
[keyboard clacking]
♪
- O'Hare? - Yeah.
♪
.
[dramatic music]
♪
[wolf howls]