Original subtitles

(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)