All language subtitles for Da.Vincis.Inquest.S05E03.A.Big.Enough.Fan.720p.TUBI.WEB-DL.AAC2.0.H.264_track3_[eng]

(tense music continues)

(tense music continues)

(tense music continues)

(tense music continues)

(tense music continues)

- What did I say?

- I know.
- Huh?

- I know.
- What did I say?

- I know.

- Any six year old knows you
don't go moving a graveyard.

- Well, it's out of
the bag now. So...

- You know, they don't
make a fan big enough

for the the shit that's
gonna fly over this.

They better stand
back and cover up.

But wait, why repeat myself?

Why go over and over it?

- Let me introduce you.

- Who's this now?
Who's this this?

- She's from the Mental
Health Resource Association.

Her name is Lillian.

She says she met you
a couple of years ago.

- Geez. I have no memory
of that whatsoever.

Lillian, isn't it?

- That's right.
- Right.

Dominic Da Vinci.
- Hi. Hi.

- Okay, I just, let me just
start straight out by saying

that the Coroner's Service
has made a big mistake

on this one.

- Uh-huh.

Thank you for admitting it.

- Okay. How many
people are buried here?

- 2,200 in total on the grounds.

450 in the area we're removing.

- And how many dug up so far?

- 60.

Some of them are just numbers,

but we managed to
identify most of those.

- Yeah.

- However, these here
are gonna be a challenge.

- Some of them
missing headstones,

some of the graves?

- Not some, a lot.
- A lot of 'em?

- But that's not the problem.

The problem here is commingling.

- Oh, okay. I see.

I take it you didn't expect
to find two of them in there.

- [Lilian] No.

- [Dominic] All right, lemme
get a shot of this here.

Couple of shots.

Get a record of this.

Who's recorded as being
buried in this place here?

- [Lilian] David Furness.

- Furness. Okay.

Right.

Okay. Here's an image.

Can you see a flash?
- No. I haven't seen it.

- He would've been how old?

- Well, at the time of...

He entered the
institution in 1956 at 13.

And he was buried in 1972.

So he was 29.

- Okay.

He was a mental patient
the whole time, was he?

- Yeah.

- Okay. So adult male.

Any dental records or
anything like that?

- There should
be. Can't promise.

- Should be?

- So any reason you
can think two people

would be buried
together like this?

- No.

- We should just let them
rest in peace, you know?

- Amen.

- Sacred ground.

- Amen to that too.

Now this woman at the top of
the hill up here, who's she?

- She used to be a patient here.

She keeps coming back.

(tense music)

- You're gonna want to
get into your suits.

It's a mess.

- Okay.

- Who's this?

- That's the husband,
George Brooks.

He called it in.

- What's inside?

- Two dead in the bedroom.

This guy's wife and another guy.

- Looks like he's got a little
blood on his clothes there.

- [Pete] Yeah, he
fought with the guy.

Then he tried to help
his wife, you know,

tried to stop the bleeding.
- I'll get the suits.

- Really?

Oh boy.

Well, we're gonna have
to bag up his clothes

there for evidence.

So get him out of those.

Have ident take a couple photos

and get swabs of the blood
he's got all over him.

And I guess find him
something else to wear.

- He says he was
working down there

and he hears his wife screaming.

So he comes rushing
up the stairs here

and then he hits
the hallway here.

The first thing he sees is that

right there.
- Oh yeah.

- Anybody move anything in here?

- Not since we arrived.

Nothing's been touched. No.

- We got a knife here.

- [Mick] What did
he say happened?

- [Pete] Well, the husband
comes upstairs here

and he sees a guy dragging
his wife into the bedroom.

That's the wife.

- [Leo] Got a hammer over there.

- Uh-huh. That's the husband's.

He brought it upstairs with him.

- Any idea who the guy is?

- Well, husband says
he thinks he might

have seen him before somewhere,

but he doesn't know who he is.

- Did you check him for ID?

- Well, we thought it
best not to touch anything

until you guys showed up.

- So anybody been
in here yet or what?

- I came in,

I checked for signs of life
and then I backed right out,

took the husband outside
and called it in.

- All right, let
me get his right.

The husband, he hears her
screaming from the basement.

Comes upstairs,

sees the guy attacking his
wife and then takes him out.

- That's what he says.
- Okay.

- With the hammer there?

- Yeah, that's what he told me.

- [Mick] All right.
Better get ident in here.

- Any sign of anybody breaking
in or anything like that?

- Nothing we can see.

(tense music continues)

- As far as I know,

the institution buried them
in a suit that they have on.

If not, something.

Not naked anyway.

- Not naked?

- No.

- Well, the man in the suit,

that's consistent with
somebody laid out for burial.

But the roommate here,

you see the way the legs,

the knee joints are all
tucked in underneath there?

- Yeah. I do.

- And same with the arms.

They're all...

Well anyway, I can tell you
that's for sure this is wrong.

Okay. We know that for sure.

So what I'm gonna do is I'm
gonna get these bones down

to the morgue and
here's my card.

I'd like you to put together a
list for me of all the people

that are supposed to be
buried here in this area

and get that list
in my office, okay?

As soon as possible.

- I'm pretty sure we do
have some dental records.

You know, some hospital records,

a few charts that have survived

in some of the patient files.

- So you're pretty
sure of something?

- Pretty sure.

- Pretty sure.

Okay, well maybe we can
figure it all out then, eh?

When I die, it's over the side

into the deep blue sea with me.

- But you're gonna be cremated?

- Cremated, that's right.

Up and smoke.

- That's no guarantee.

Could get commingled with
somebody else in the furnace.

- Enough.

- And your kin winds up with
somebody else ashes in the urn.

That happens on a regular basis.

- Don't tell my mother.

- Don't tell her what?

- That I wanna get cremated.

I can't do that.

We're Catholic. It's
against the rules.

- Didn't they
change those rules?

You can get cremated
if you're a Catholic.

- Not according to my
mother they didn't.

She's old school.

And please don't
tell her what I said.

- I don't know your mother,

so chances of that
happening are pretty slim.

- Yeah, you know my mother.

She came by the office, huh?

- You didn't introduce us.

- You had her lasagna.

- Oh yeah, that was good.

- Care for a smoke.

Maybe it's a little tough,

but I'm gonna start
asking you some questions.

And you, when you first
heard the screaming,

you were in the basement,
is that correct?

- Uh-huh. Yeah, that's right.

I was on the saw cutting
a piece of mahogany

for a cabinet I'm making her.

- Right. And you heard
nothing else before that?

Nobody knocking at the
door? Nothing like that?

- Well, they might have,
but I didn't hear it.

I had the saw on.

- You had the saw on and
you heard the scream?

So you heard the scream
over the sound of the saw?

- I was...

I wear earphones.

Those protective earphones.

I took off the
earphones and heard her.

- Okay.
- So your wife was what?

She was like screaming,
calling out for you?

- Yes, for help.

She was screaming
for me to help her.

- [Leo] She was
calling out your name?

- Yes.

- So she knew you were in
the basement working there?

- Yeah.

- About what time
would that have been?

- Around 9:00, I think.

- Nine o'clock? Okay.

- How long have
you been married?

- 22 years.

- I'm very sorry.

This is a real terrible
thing to have happened.

- Yeah, it's awful.

One of the officers
mentioned to us

that you may have known the
man who attacked your wife.

Is that right?

- No. No, I don't know him.

I think maybe I saw him around.

- Do you remember where?

It'd be big help to us if you
could help place this guy.

- I don't know if I know him.

I just had the sense that he
seemed somehow familiar to me.

- Any idea if it was
around the neighborhood?

Was it recently? What?

- Oh, I'm sorry.

He had a smell.

You know, the smell of somebody

that hasn't been
clean for a long time.

- Okay, well, we're gonna
continue to take a look around

and we'd appreciate
it if you'd stay here.

When he says he's
working on the saw,

he's making a cabinet
for her outta mahogany.

- [Mick] Okay.

- Mahogany. Who gives a
shit what it's made of?

For that matter,
what he's working on.

I mean, that'd be the last thing

on your mind at a
moment like that.

- Right. Maybe.

- I think he's giving us
this little piece of detail

because he's gone over
his story in his head.

You know, cutting
a piece of mahogany

to build her a cabinet.

- He's rehearsed it.
- Yeah.

- Maybe it's just him in shock.

You know, here I am
down in the basement

building something
nice for my wife.

Meanwhile, she's
upstairs being attacked

and I wasn't able
to go and save her.

He's just balancing out the
old survivor guilt thing.

- Oh, I get you.
Yeah, survivor guilt.

- Right, he's trying to
explain why she's dead

and he's still alive.

He was downstairs.
Couldn't get upstairs.

- Well, I was just listening

and mahogany jumped
out at me, you know?

Sounds wrong to me.

- Yeah. Okay.
- Yeah.

- Yeah. Well, what
do you wanna do?

We're gonna be here for a while.

Wanna keep him around
and question him

or you wanna send him downtown?

- No, let's keep him here.

I might have a lotta
questions I wanna ask him.

Be good to have him handy.

- All right.

(traffic whooshing)

- I told him to come down.

He was a little pissy about it.

You wanna meet him?

- No, I don't need that.

Lemme know what you think.

Hey.
- Hi.

This is Detective Kosmo.

Professor Schulte.

- Thanks for coming down.

- Sure.

- Let's talk outside.

So you teach sociology?

- [Professor Schulte]
That's right.

- Interesting.

Yeah, I took a couple of
courses when I was in Montreal.

- My wife's funeral
was a week ago.

So I'm a bit puzzled

why you're taking
(indistinct) just now.

- Yeah. Well, you see, it
just came to our attention.

- Who brought it
to your attention?

- Well, you see, we get
death certificates sent over

on a routine basis to
the coroner's office.

And they noted there wasn't
an autopsy performed.

So it's routine.

- It's not even
your jurisdiction.

- Well, actually, I think it is.

I mean it's listed
as an accident,

but if we wanna
investigate, we can do that.

- Was it the Smiths who
asked you to investigate?

- Well, they're cooperating.

Listen, do you mind answering
a couple of questions?

- Go ahead.

- Okay. Tell me a little
bit about the trail

that you and your wife were on.

- It was an easy trail.

A gradual climb.

- Okay. So you're
walking on this trail.

Are you talking to each other?
Are you taking pictures?

What?

- I just turned around
and she wasn't there.

I thought she's okay.

She didn't fell that far.

Later I was told it
was almost 200 meters.

- Okay. And you're both
experienced hikers.

- Well, experienced,
I don't know.

We'd go hiking together.
That's all about it.

- And she had no
problems with heights

or anything like that?

- Who told you that?

- Was she afraid of heights?

- You'd have to
have known my wife.

If she was afraid of something,

it was all the more
reason for her to do it.

- Now you have a grad
student, Linda Billharts.

- Yes.
- Could you tell me the nature

of your relationship with her?

- I find all this
thing offensive.

If you have any more question,
you can talk to my lawyer.

- Have him gimme a call.

(horn beeps)

- Why would somebody
break into a house

where they could hear the
saw running in the basement?

- Some guys like to break
in when there's people home.

There's a better chance of
money being in the house, right?

So the guy hears the saw
from the street here,

comes up, tries the
front door, it's open.

He comes in, sees her, he
surprises him and he panics.

- Yeah, but why this
house? Why this morning?

- You heard him saying
he's seen him around.

Maybe he's been
watching the place today

and figures the time's right.

- Yeah.

Maybe one of the
neighbors'll recognize him.

- Maybe.

How we doing, Chick?

- Oh, well, you got something
to do, you should go do it.

- [Leo] How about ID?

You got any?

- Yeah. Here we go.

Some small bills and some
change and the usual.

It's all in there.

- [Sunny] Now why'd you approve

that cemetery being dug
up in the first place?

- Sure as hell wasn't
me. Go see the boss.

Please.

Go and tell him his idea
about opening up Pandora's Box

for everyone is
less than brilliant.

I wish you would.

- A lot of people died
at that institution,

most of them without any family.

1 in 10 with any medical
charts to go off.

- I understand.

- You know we're gonna need
another pathologist, yeah?

- Well go and see the
big man about that.

- Is Patricia gonna be
available part-time or what?

- No. Oh, I asked her.

She says that she's
gonna be teaching.

She's burned out.

- Yeah, my point.

I need some help.

- We're looking, okay?

That's what I'm told.

Oh, I got a problem now.

The families want the fire
victims' remains released.

Can I have 'em?

- Oh, I've done the children.

Nothing jumps out.

I'm waiting on tox and I
haven't done the mother yet.

- So no.

So I'll tell the lawyer
we're doing procedures still

and I'll blame it on the lab.

- [Sunny] We're shorthanded.

You're gonna be
repeating the excuse more

than the few times
until we get some help.

- Go see the boss
on the way out,

'cause he's in there.

(saw roaring)

- You hear it?

- Yeah. It was loud.

- And you can see in here
from the window there?

- Yeah, the guy could
have heard the saw.

Then came up to the side
window here, peeked through,

and then gone off to check
the door in the front,

see if it was open.

- That's teak, not mahogany.

- Really?

I don't know. I don't
know the difference.

- The guy said mahogany.

That's teak.

- [Mick] He got
the detail wrong.

- Yeah, either that
or it is mahogany.

I used to know the difference.

(tense music)

- All right, so the guy's
creeping around the yard.

Hears the saw.

Decides to take a peek
through the window.

- Okay.

Well, take a look around.

I don't see any footprints
in the dirt here, do you?

- Nope, I sure don't.
(tense music continues)

Maybe he doesn't have to
look through the window.

Maybe he's been watching
the place, right?

- Okay.

- You can hear the
saw from the sidewalk.

You can hear the saw from
the alley, from everywhere.

So maybe guy figures

as long as he continues
to hear the saw,

he's safe to come up
and try the front door.

(door beeps)

- You hear that?

- Yeah. That's the
chime for the alarm.

- Chime goes off every time
you open or close the door.

- That's right.

- Even when the alarm's off.

- Yeah.

(tense music continues)

So the wife hears the chime.

She comes into the
hall from where?

- Well, somewhere close by

where she could hear
it over the sound

of the saw in the basement.

I don't know. The bedroom?

Kitchen, maybe.

- So it's the sound?

It's chime that draws
her to the door.

- Yeah. Then as soon
as she sees the guy,

she's gonna start
screaming for her husband,

don't you think?

- Yeah, maybe.

- And then she's wanna
get down to the basement

where he is, right?

- But he's quick. He's
too quick and he's on her.

- What do you got for us, Chick?

- Well I think I've got
a scenario worked out.

- Yeah? Go.

- Well the blood pattern
indicates it's probably

from an arterial wound.

Most likely from
that knife there.

(tense music continues)

- [Mick] There's gonna be
blood on the assailant.

- [Chick] Oh yeah.

- [Leo] Okay. What happens next?

- Well, he grabs her like this.

Then he stabs her,

probably with a downward
motion like this.

And blood spatters on either
side of him on the wall there.

And on this wall, you
got castoff pattern

from when the attacker
pulls out the knife.

- And this pool of blood here?

- Well, she goes down then

and most of the bloodletting
happens right there

on the carpet.

But we know she's not
dead at this point

because somehow she manages
to crawl over to the bed.

- Okay. So he comes
through the front door,

she hears the sound of
the chimes or whatever.

He gets into the hallway,
they see each other.

She turns to flee.

He comes after her,
grabs her from behind.

Something like that, right?

- Yeah. The pattern supports
a couple of possibilities,

but, more or less, you're right.

- Okay.

- Well, we know they came in
either through the front door,

which we know was unlocked,

or from up outta
the basement there.

- I don't know where
the person came from,

basement or the front door.

I don't know.

Look over here.
(tense music continues)

Now this guy here, take a
look at the front of him.

Some of the blood
there looks arterial

and some of it's hers
from the initial attack.

Some's probably from his own
wounds from the hammer blows.

- [Leo] Yeah, there
was a lotta blood

on the husband's shirt too.

Did you get a look at that?

- Yeah, I did.

It's all smeared.

It'll be up to the lab to
determine whose blood is whose.

- What do you think happened
when the husband came in here?

- Well, it looks like he hit
this guy a couple of times

on the top of the
skull with a hammer.

- Killed him straight away.

- Yeah. Shattered his
skull, penetrated the brain.

Yeah, pretty much instant.

- So what do you
figure, Chick, then?

All in all, did the
husband's story makes sense

with everything
you're seeing here?

- Well, I haven't
been around here.

I wanna get him
back to the morgue,

get a closer look and
get the lab work back.

But yeah, his story fits.

- I can't read the
fine print on there.

What does that say
there? The manufacturer?

- Made in Germany.

- Hey, that's an
expensive knife.

- [Mick] Yeah, it is. It
looks like a good one.

- Hang on a second.

(tense music continues)

- So, what's the thinking?

- Well, the guy comes
through the front door

and then it's like you said.

- That's from a
set in the kitchen.

See?

It'll fit right in there.

- So what's the
thinking here then?

That he's creeping
around the kitchen.

She comes down, surprises
him, sees him, takes off.

He grabs a knife. Follows
her out into the hall.

- Yeah, but why does he
drag her into the bedroom?

That's the question.

What's he thinking?
He's gonna rape her?

- With the husband
downstairs? Her screaming?

- Yeah. That's a completely
different scenario altogether.

I mean, if he's stalking
her, his object is rape.

I don't know.

- He's on a morphine drip.

- Oh yeah, he'll be in and out.

He'll be time
tripping, this guy.

- Yeah, my dad had cancer.

He was getting morphine.

- He was?

- Yeah. There were some
days he thought he was back

in the merchant marine.

I'd come into the
room and he'd whisper,

"Come on.

Let's weigh anchor and let's
get the hell outta here."

- My old man did the same thing.

God, he could just look
at you all of a sudden

it's like 1930 or something.

- When did your dad pass?

- It's like three
years already. Yeah.

- I was on the porch
having a cigarette.

I remember

wondering if the neighbors
knew they have their sprinkler

on all night.

Thinking about going over,

turn off the water.

- Anything else?

- [Glen] No.

- Do you recall where
the fire started?

- I have no recollection.

I read the newspapers.
That's what I know.

I must have gone into the fire

to end up looking like this.

- [Sid] Do you
always smoke outside?

- Yes.

My wife, she didn't
like smoke in the house,

so I would smoke on the porch.

- [Dominic] And about what time?

- I don't remember.

I get insomnia sometimes.

- Uh-huh?
(tense music)

- [Glen] You look
vaguely familiar.

Do I know you?

- Oh yeah, you do, actually.

Unfortunately, for all
concerned, Mr. Moorehouse,

this is not the first tragedy

we've had to work
through together.

- [Glen] I don't remember you.

- Don't remember me, eh?

Okay, well what about
Mr. Fleming here?

He was also involved.

- I'm sorry, I
don't remember you.

(phone ringing)
(tense music continues)

- So he doesn't
remember either of us.

Well, some pretty
serious burns though.

- Your male victim
is Michael Freeling.

- Has he got a record?

- Yeah. For
shoplifting, falsifying
prescriptions. Mischief.

- Mischief? What for?

- He's an ex-mental patient.

I guess he went off his
meds a couple of times

and broke some windows.

- Any record for sexual
assault or trespass by night?

- Nope.

- Did you turn up
anybody on the canvass

that recognizes him.

- There's a guy up the alley
here almost directly behind

who uses him to clean up his
yard once or twice a year.

He says the guy shows up
three or four times a year

looking for odd jobs.

- So what? He could have
come here looking for work.

- Yeah, coulda.

- She recognizes
him, invites him in,

and brings him into the kitchen

and tells him what
work she wants done.

- And he sees an opportunity
to assault her maybe.

- Yeah.

Can we talk to this
guy that knows him?

- Yeah, he's across the alley.
- All right, let's go do that.

- All right.

- [Angela] Well, he
confirmed his wife

was afraid of heights,
but he got a little riled

when I asked was he
having an affair?

- Well, his wife's been buried
the week already, right?

- Mm-hm.
- We'd need something

pretty definitive to go
into this any further.

- Yeah.

You want me to pursue it?

- No, I'll talk to my neighbor

and I'll tell her
we checked into it

and we didn't find
anything in the statement

that indicated any foul play.

- Yeah, well, that'll
probably satisfy her.

- I've been getting a lotta
calls from victims' families

in this missing woman thing.

- Yeah. What's going on there?

- Oh, it's gonna
go on for years.

- Well, I tell you,

I'd wanna know where
my daughter was buried,

if she was murdered.

I mean, I'd hate
to live in limbo.

- I used to think a red light
district was a radical idea.

Now I think it's the only way

to afford anybody
any protection.

- Used to be.

I remember when I was a kid,

I mean, you didn't see
girls working outside.

I mean, I guess they
were in the clubs.

Off the street, anyway.

I mean, at least someone
was watching their back.

- Yeah, well you can blame
that one on the city hall.

Sometime back in the 60s,

I think the mayor got
heavy on the clubs

and the bawdy houses.

That's when it all started.

Put everybody out on the street.

- [Angela] Hey, Suki.

- Hey, Angela.

- Suki, do you know
Sergeant Kurtz?

- No.

Hi. Nice to meet you.

- What's going on?

- Oh, you know, the usual.

We just took down some pimps
wailing on one of his girls.

- We were just talking
about how to deal

with the whole street
prostitution thing

in light of the murders.

- It's not just here, you know?

You got the same thing all over.

Down in Juarez, same thing.

Mexico City, all over.

I mean when you get a
scene like we've got

with the real marginal
trade down there

in the industrial area,

you're gonna attract the
freaks and the predators.

- Well, better to
protect some than none.

(tense music)

- [Jack] I saw him
this morning about 8:30

and I told him I had
a big job for him,

taking out some of
those brambles here.

But he said he already had a
job here in the neighborhood.

- Did he say where he was going

or who he was gonna work for?

- No, I didn't ask.

He'd said he'd come
by in a couple hours

and give me a hand if
I still needed him.

- Did he ever tell you
anything about himself?

- Not much. He didn't talk much.

Sometimes I'd make him lunch
and he'd talk a little then.

I guess he was homeless.

- Did he ever mention to you

that he had
psychiatric problems?

- Yeah, he was
upfront about that.

He said he had ups and
downs, he called it.

- Ups and downs, I get those.

Did you ever see him
take any medication?

Anything like that?

- Well, Maybe he took something.

Sometimes he'd be kind
of glazey, you know.

Next time I'd see him,
he'd be a little hyper.

- How'd he seem to
you this morning?

- He was a little bit
more hyper than usual.

- Would you say he was agitated?

- No, he just was a little
more speedy, I guess.

Some days he'd be speedy.

Other days he'd be
kinda slow motion.

- You ever see him get
mad, lose his temper,

frustrated with things?

- No.

- Did he use your tools
or was he using his own?

- He used my tools.

I don't think he had much
beyond what was in his pockets.

- So you trusted him
with your tools then?

- Yeah, you know,
he was real polite.

Please and thank you.

- [Leo] Was your wife ever
around when he was working here?

Did she know him?

- Yeah, sometimes she was here.

- But you say you trusted him.

So let me ask you this,

would you have left your
wife alone here with him?

(tense music)

- I don't do that.

You don't know what people
are capable of anymore.

- No, you sure don't.

Do you know if
there's anybody else

in the neighborhood he
might have been working for?

You remember?

- Well, the house you guys
are at, across the alley.

- He worked for them?

- He's the one who
recommended him to me.

- Okay.
(tense music continues)

That's gonna just about do it.

Thank you for your time.

- So what's going on over there?

- Well, there's
been an incident.

It's under investigation.

Not really at liberty to
give you more than that.

Thanks for your time.
We'll be in touch.

(tense music continues)
- Okay, so this is it here.

The second set of
commingled remains?

- Yeah, this one here and
then another one over there.

- And another one?
- Yep.

(tense music continues)

- So this is a third set of
commingled remains right here?

- [Lilian] Yeah, right here.

- [Dominic] Oh yeah.

Can I ask you something?
- Mm-hm.

- What was their procedure?

Now, if somebody
died around here,

who oversaw things?

- The general hospital staff.

You know, a couple of
resident physicians.

- Physicians, okay.

So they would record
the time of death,

issue death certificates,

and there's records
kept of all that stuff?

- Well there's some records,
but they're not very complete.

- No, they're incomplete.

What about autopsies now?

Are there any records for any
autopsies that were performed?

- Yeah, a few.

But usually an autopsy
was only performed

when a doctor or family
member requested one.

- Oh, so no family,
no investigation?

- Right.

So what they would do
is take the deceased up

to the institute's morgue,

register their death,

take them back to
the funeral home,

and then eventually
back up here for burial.

- Okay. You know
what I'm gonna do?

This is a crime, right?

It's a crime. So that makes
this area a crime scene.

The whole area here,
I'm shutting it down.

We're taking a good hard look.

Helen.

(tense music continues)

- [Mick] Think
you'd be all right

to answer a couple
more questions?

- Sure.

- We identified the assailant
as a Michael Freeling.

Man who used to do odd jobs
around the neighborhood here.

- Yeah, I remember.
That was him.

- You used to employ
him sometimes.

- I did. That's right.

A few years ago.

I didn't recognize him.
- Could you tell us again

what he was doing the
first time you saw him?

- He was dragging my wife along
the hall into the bedroom.

- And what did you
do to stop him?

- I hit him on the
head with my hammer.

- I'm sorry, when was the last
time you said you saw him?

- Couple of years ago.

- So wait, see,

he didn't come around the
neighborhood regularly

looking for work then?

- No.

The last time he worked for me,

my wife said she was
uncomfortable around him,

the way he was staring at her.

- Is that right?

So what? You asked him
not to come back or...

- Yes.

- [Leo] Did you tell
your neighbors how
you felt about him?

- No, I don't think so.

- [Leo] You didn't warn them?

- No.

I guess I should have.

- Listen, we have
to get downtown

and, in fact, we'd like
to get you outta here.

And we need to get a
statement from you.

So I'm thinking it'd be
more comfortable downtown.

What do you think?

- Okay.

- I'll get a constable to
give you a lift. Hey, Pete.

Excuse me.

Think you could get Mr.
Brooks downtown for us?

Thanks.

- I'm gonna get another
canvass started.

See if we can find out who

in the neighborhood
he was gonna go

to work for this morning.

- Just wanted to go over
your witness statement

one more time

just to see if you can remember

anything else pertinent, okay?

- I understand.

- Okay. Now, you said you saw
Mr. Moorehouse leave his house

around midnight. Is that right?

- About five minutes past.

- Yeah?

Now what made you
so sure of the time?

- Well, because I had
just finished watching

the sports station

and that finishes at 12:00.

- The sports?

- Mm-hm. And then I went
out and had a cigarette.

My daughter makes me
do that in my home.

Did I tell you that?

- Yeah, yeah, you
mentioned this.

- She's convinced
the fire started

'cause of Mr.
Moorehouse's smoking.

But I know he smokes
on the porch like I do.

- And is that what he was
doing that night then,

having a cigarette?

- Well, not when I was out here.

- No?

Well, he was doing
what then exactly?

- Well, I saw him leave
the house and drive off.

- He just drove off?

- Mm-hm.

- Did he see you?

- Maybe. I don't know.

It's not like we talk much.

I mean, they mind their
business. We mind ours.

- Okay.
- They're good neighbors.

It's horrible what happened.

You know, to those two
kids and their mom?

- Yeah.
- It's horrible.

- This one's pretty bad.

Okay, so you saw him leave.
And did you see him come back?

And if you did, about what
time would that have been?

- No, sorry.

'Cause after my
cigarette, I went to bed.

Then the next thing I know
there's this big explosion.

I came running out

and saw that house burning
up like an inferno.

And I called 911.

- And did you see
Mr. Moorehouse then?

- No, I saw the fire.

- Yeah.

- I went back inside.

I called 911.

I waited on the phone

for a while.
- Right.

- Until the fire
department came.

- Okay.

Well thanks for taking the time.

Very nice of you.

Well, you got a nice spot here.

Done a nice job on your garden.

Well, just a great house.

You got a great spot here.

You can see the whole
neighborhood, right?

And don't take this wrong,

but you strike me
as the kinda person

that can watch people.

You notice people come and go.

Am I right?
- Yeah.

- I'm kinda this same way.

I like to watch.

Okay, now, what do you think?

What was the reason
Mr. Moorehouse

might have had to leaving
the house that time of night?

What was going on there?
(tense music)

- I have no idea.
- Really?

- No.
- Okay.

Well, I just thought
it was kinda odd.

Maybe you had an opinion.

Anyway, thanks again.

- I was asking around about
that ex-mental patient

maybe working for
somebody else here,

but nobody spoke to
him this morning.

- All right, well, keep looking.

And, I don't know, maybe
somebody will show up

from work or something.

- All right.

- You know, nobody spoke to him

because he was coming
here, this house,

George hired him.

- I don't know.

There's a lotta forensics
evidence to support his story.

- He could have changed
some things around

to make it work that way.

- You'd have to
reconstruct the scene.

- Well, that's been done before.

Think about this.

For some reason, George
decides to kill his wife.

Homeless guy comes for work.

Knock, knock, knock.

The husband figures he can
make it look like he did it.

- Right, yeah, I get that.

But that's not what
forensics is saying.

Forensics says the
story sounds tight.

- Well, I don't think so.

I think the homeless
guy was an opportunity.

And the husband either said,

today's the day I do what
I've been thinking about doing

for a long time or
it was a fit of rage.

And then there's the homeless
guy, knock, knock, knock.

And it's all a
spontaneous thing.

- You're trying to fit this guy.

- Look, forget about
what Chick said.

Forget any of that.

You walk into a house,

you find a husband downstairs

and the wife upstairs, dead.

Who are you gonna look at?
(tense music)

Take the homeless
guy outta the scene.

- Okay, so we take the
homeless guy outta the scene

for a sec.

What have we got? We go
inside, we head upstairs,

we find the wife stabbed in
the back, dead in the bedroom.

We got the husband
down in the basement,

says he didn't hear a thing.

- Yeah, you see?

That's his original plan.

He's got the saw going.

He's got the earmuffs
on. All of that.

- And he thinks what?

The homeless guy shows up.

He goes, aha! Can stick
this guy into the story,

it plays better for me.

- Now he's got his intruder.

- Okay.

But then you throw the
forensics back into it

and then none of
it plays, right?

- Yeah. I know.

- Hey guys, I found these
work gloves in the backyard.

They belong to the dead guy.

- How do you know that?

- He got his initial's
written in felt pen there.

MF. Michael Freeling.

I guess he mighta dropped
them in the backyard.

I found the gloves right
there by that pile of lumber.

- Yeah, good.

Okay, thanks, Pete.

- Okay, let's say for a
minute that our homeless guy,

he's already here in
the backyard, working.

He's moving that lumber
there or something.

- Right. He's been
hired to do yard work.

- Now our husband,

he's had some time
to figure things out.

So he comes out here
to the back door there

and he says, "Hey, come
on in here for a minute.

I need you to help
me to move a dresser

or something in the bedroom."

- Right.

So he takes the guy in
and up to the bedroom,

shows him the scene,

and he whacks him a
couple times on the head.

- Down he goes.

- Down he goes.
(tense music)

And then the plan is, what?

I'm gonna call the cops,

tell 'em I killed a homeless
guy who was attacking my wife?

Yeah?
- Yeah.

- Well, then I'm gonna
look at the evidence

and see what we got.

What does it look like?

Maybe change things
around a bit. Mix it up.

If I mix it up enough,

then it's gonna be hard to
determine what happened.

- Yeah. So, okay,
first thing I do,

I get the homeless guy's
prints on the knife.

- Okay.

- All right, what
do I have left?

What's left?

- Well, if the husband
killed the wife,

he's gonna have her
blood all over him.

- Change my shirt.

- Okay, so I take my shirt off.

- Switch with the dead guy?

- Yeah, but not yet.

Okay, I stab the wife, right?

I get her blood all over me.

Now I gotta take off my
shirt, clean myself up.

I get washed up, I go outside.

I get the homeless guy
and I bring him back in.

- Oh yeah, right. Come
on in here for a minute.

- Right.

Yeah, so take him upstairs,
show him the scene.

He turns around and I clock him,

clock him and get him with
a hammer couple times.

Now I got his blood on me.

- [Leo] Yeah, a little
back splash there.

- Right.

Okay, now he's down dead.

I take his shirt off.

Take his shirt off the dead guy.

I put it on me

and I take a shirt I was
wearing when I stabbed my wife

and put it on the dead guy.

Does that sound right?

- Oh yeah, that sounds right.

- Okay, now I'm wearing his
shirt, the dead guy's shirt.

He's wearing my shirt.

Yeah, and then on the
blood evidence fits there.

- Or at the very least,

it confuses it enough to put
a doubt in the mind of a jury.

- That plays.

- Yeah, I think it plays.

- [Dominic] So what
do the neighbors say?

- Well, nothing new.

She just-
- Excuse me.

- Basically stuck to
her first statement.

- Yeah.
- Do you have any idea

when Mr. Moorehouse will be
released from the hospital?

- [Dominic] Well,
not really, ma'am.

He's in pretty rough shape. Why?

- Oh, well I have his dog.

And I have cats and I
don't know what to do.

- You got his dog?

You sure it's his dog?

- Oh, yes.

Dog showed up at my door
the day after the fire.

I mean, I've been
looking after him,

but I can't keep the dog.

What should I do with him?

- Oh, I don't know. Pound?

- Oh no, I couldn't do that.

Mr. Moorehouse
wouldn't like that.

- Oh, I don't know. A kennel?

I could ask Mr.
Moorehouse if you'd like,

if you can hold on
for a day or so?

- Oh, all right.

Sure.
- Oh, thanks.

Now, did you see the dog
the night of the fire?

- No, I'm sorry.

I wasn't around.

- You weren't?

- [Neighbor] It's
all ragged and dirty.

- Do you remember what
type of shirt Mr. Freeling

was wearing when he came
to talk to you about work?

- [Jack] I'm not sure.

- [Mick] Was it a short
sleeve? Long sleeve?

- Short sleeve.

He was gonna take
out some bushes

and I thought he'd get
himself all scratched up.

- When you say a short
sleeve, you mean a t-shirt?

- No, one of those shirts
you button up a few buttons.

- Yeah, a golf shirt?

- Yeah, a golf shirt.

- What color?

- Blue or green, yeah.

- Okay, I'm gonna need
you to make a statement

to that effect,

what kinda shirt
you saw him wearing.

All right?
- Sure.

- I'll have a constable
come back. You can tell him.

- I'll be here.

- Okay.

(tense music)

We got him.

Good job.

You smelled that
one from the get-go.

- Thanks.

Finally got a good night's
sleep last night for a change.

- You know, he's gonna wanna
get a lawyer right away

as soon as he hears the
question about that shirt.

- Yeah, well, we got him anyway.

We're gonna get so much DNA
off of both of those shirts

and that's gotta be the
husband's shirt on our dead guy!

- Yeah.

Man.

- You know, when did we become
so afraid of homeless people

all of a sudden?

When did that happen?

You know, when I was a kid,

there was guys coming
around all the time asking

if they could mow the lawn
or clean out the garage

or paint the house numbers
on the curb, you know?

A lot of 'em, they just
come back from the war.

They couldn't find a job,

but nobody called 'em homeless.

I mean, 'cause they were
home, you know what I mean?

The whole country
was their home.

- Yeah.

We've made poverty a crime.

- Well, tell me what
evidence you have

of a crime being
committed out there.

- We dug up 60 bodies.

60 some odd bodies
outta the 450 you plan

to disinter and move.

Outta those 60, we
got three of them

with commingled remains.

- So in your mind,

commingled remains is indicative

of a crime having
been committed.

- Section 182.

Neglect or improper
interference with human remains.

That's an indictable offense.

- And out of that,

which is not
evidence, I might add,

out of that obscure statute,

you declare the entire
disinterment a crime scene?

No (laughs).

No, no, no. I don't think so.

- So anonymous in life,
anonymous in death.

You know very well
that if we were talking

about another cemetery here,

we wouldn't be having
this conversation.

We'd up to our elbows

in a full-blown
investigation, wouldn't we?

- Perhaps. But getting
back to the point,

you haven't yet explained to
me the nature of the case.

I mean, is there any evidence

to suggest that these
remains met with foul play.

- Evidence?

Sunny hasn't signed off
anything specific yet.

- There you go. You see?

No crime, no crime scene.

- All right then, I'll
let my report reflect that

those extras hopped in there
with those identified remains.

Why? Because they
wanted company.

And you'll sign off on that
as soon as I write that up?

- Yes, I will.

And I'd like it by the
end of today, please.

(car rumbling)

- The victim is my neighbor.

So I'm just gonna hang around
for the comfort factor, okay?

- Yeah, go ahead.

- [Victim] I came down to my car

because I left my lights on.

- [Melanie] Somebody had
called to tell you that?

- Yeah, the concierge.

Thank you.

He called, said another
tenant called him.

So he called me.

- Who was the tenant
who called? Did he say?

- No.

He might have, I don't remember.

- And were your lights on?

- Yeah.

- Anybody on the
elevator with you?

- No.
- How about in the garage?

You see anybody down here?

- No. No one.

- [Melanie] What
happened from that point?

- Well, I reached into my
car to turn my lights off

and I heard a door creak.

So I turned halfway and I
saw just a dark, big blur

and suddenly I was being
smashed into the car,

my head into the roof.

- Any details of the
assailant you noticed?

- No.

Just big, seemed tall.

Dark clothing.

A sweatshirt, the cotton kind.

And then he grabbed my hair
underneath at the back then

and pushed me into the car
twice, three times maybe.

And then he dragged
me to the ground,

face down to the ground.

- You didn't get a look
at his face during this?

- No, he kept me
shoved to the ground

and then he put a
plastic bag over my head.

I think it's over
by the car still.

- [Melanie] Did he say anything
to you during any of this?

- No, he just grunted.

- [Melanie] He was sitting
on you at that point?

- Yeah, he twisted my
arm up behind my back

and pulled my underwear
down with his other hand.

And then he just smashed my head

into the ground one
more time and left.

I think there was a car
coming into the garage

that scared him off.

- What direction did he go?

- Up the stairs, I think.

I heard a door open
and close so...

And then I called out for help

and my neighbor got out
of her car and came over.

- Is there anything you
can remember about him?

Any smell you can recall?

- Yeah, he was a smoker.

I could smell it on him.

- Okay. Cigarette smoke?

- Yeah. It smelled like he
just smoked a cigarette.

- Did you fight back at all
or scratch him or anything?

- No, I didn't have a chance.

I don't think I did.

- Did he attempt to penetrate
you? Any sense of that?

- No, he didn't have
time to do anything.

The car came in, so...

- Okay, well we're gonna need

to take you to the hospital
for an examination.

We'll need to have
you looked at.

- But he didn't get that far.

- We're still gonna need to
take you in for evidence.

It could be hair, fibers.

You understand?

We'll also need your clothes.

An officer will
bring you something

from your apartment to wear.

- Yeah. Okay.

- Just one more question.

Has anybody been calling
you, threatening you?

Anything like that?

- No.

I did get one phone call, a
hang up, the night before.

But that's all.

It's actually been a
really scary year for me.

- How's that?

- Well, I have a lump
removed in my breast

and now this happens.

You think you'll catch this man?

- [Sheila] Yeah, yeah,
there's a good chance we will.

- Okay, thanks.

You've been really kind.

Thank you, Sheila.

(tense music continues)

- This could be the same guy.

He's been active in
the neighborhood.

- I didn't know
that was happening.

- He's attacked three times
in the last two months.

He hadn't used a
plastic bag before,

so maybe it's not the same guy.

- Anything useful?

- Well, we got some
cigarette butts outside

of the stairwell,

so it looks like somebody
was waiting down there.

We've got some
partials on the car.

Somebody was wearing gloves,

smeared the surface pretty good

so I don't know what
we'll get there.

Maybe something
in the stairwell.

- Well, she said she
smelled smoke on him,

so chances are it's
him in the stairwell.

- And we have some DNA evidence
from the other assaults,

so we'll know pretty
quick if it was him again.

- Okay, well I'll check
in on her in the morning.

I just live on the floor
above her apartment.

- I'm gonna interview
your other neighbor.

Maybe she saw this
guy on his way out.

- [Sheila] Okay, great.

Good.

(tense music)