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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:06,473 --> 00:00:08,589 RUN, RUN, RUN, RUN, RUN! 2 00:00:12,329 --> 00:00:15,964 RUN, RUN, RUN, RUN, RUN! 3 00:00:16,033 --> 00:00:18,667 GET OUT OF THE WAY. THERE'S A CAR. 4 00:00:20,754 --> 00:00:24,389 COME ON. GET OUT OF OUR GAME. FOR REAL. 5 00:00:39,406 --> 00:00:42,501 SO WHY DON'T YOU TWO TAKE YOUR TIME AND WALK AROUND, SEE THE HOUSE. 6 00:00:42,525 --> 00:00:45,004 IF YOU HAVE ANY QUESTIONS, PLEASE DON'T HESITATE TO ASK, OKAY? 7 00:00:45,028 --> 00:00:47,795 THANK YOU. HI. HOW ARE YOU, SIR? 8 00:00:47,865 --> 00:00:51,211 COME ON IN. THERE'S SOME INFORMATION ON THE TABLE HERE ABOUT THE PROPERTY. 9 00:00:51,235 --> 00:00:53,279 IF I COULD GET YOU TO SIGN IN, THAT WOULD BE GREAT. 10 00:00:53,303 --> 00:00:56,437 THANKS. THANK YOU. 11 00:00:56,506 --> 00:00:58,439 OVER TO THE RIGHT IS THE KITCHEN. 12 00:00:58,508 --> 00:01:01,610 WHY DON'T YOU TAKE A LOOK INSIDE? IT COMES WITH ALL NEW APPLIANCES... 13 00:01:51,578 --> 00:01:55,214 AND AS YOU CAN SEE, YOU REALLY DO HAVE A LOT OF SPACE TO WORK WITH. 14 00:01:55,282 --> 00:01:58,050 NOW, THIS IS THE SECOND UPSTAIRS BEDROOM. 15 00:01:58,118 --> 00:02:00,652 THIS FAMILY HAS JUST THE ONE LITTLE GIRL. 16 00:02:00,720 --> 00:02:02,654 ISN'T IT CHARMING? 17 00:02:02,722 --> 00:02:05,757 OH, YOU HAVE TO SEE THE MASTER BEDROOM. 18 00:02:05,825 --> 00:02:08,345 THE HARDWOOD FLOORS ARE ALL ORIGINAL... 19 00:02:10,714 --> 00:02:12,842 SO I THINK WE HAVE SOME REAL PROSPECTS. 20 00:02:12,866 --> 00:02:15,400 I HAD ONE COUPLE WHO SEEMED VERY INTERESTED. 21 00:02:15,469 --> 00:02:18,303 NO RUNNING ON THE STAIRS, HONEY. OKAY, MAMA. 22 00:02:18,372 --> 00:02:21,606 SO I WOULDN'T BE SURPRISED IF WE GENERATE AN OFFER. 23 00:02:21,675 --> 00:02:26,111 WELL, I THINK THE PRICE WE'RE ASKING IS REASONABLE. 24 00:03:04,051 --> 00:03:06,018 YOU COMIN' UP? YEAH. 25 00:03:06,086 --> 00:03:08,954 I'M JUST GONNA GO OVER THOSE FIGURES AGAIN. 26 00:03:16,797 --> 00:03:20,766 GOOD NIGHT, SWEETHEART. NIGHT, MOMMY. 27 00:03:24,171 --> 00:03:28,173 I LOVE YOU. SLEEP WELL. 28 00:03:33,847 --> 00:03:36,592 JOHN? I'LL BE RIGHT THERE. 29 00:03:36,616 --> 00:03:38,783 JOHN? 30 00:03:38,852 --> 00:03:41,898 MARY KAY? JOHN! 31 00:03:41,922 --> 00:03:43,855 MARY KAY? 32 00:03:43,923 --> 00:03:46,425 MARY KAY? 33 00:05:23,189 --> 00:05:25,156 HI, BOB. 34 00:05:25,225 --> 00:05:28,359 YOU SEE IT ON THE NEWS? YEAH. 35 00:05:28,428 --> 00:05:30,709 JUST CAME DOWN TO SEE WHAT I DIDN'T SEE. 36 00:05:31,732 --> 00:05:34,399 YOUNG COUPLE BLUDGEONED, DRAGGED DOWNSTAIRS, 37 00:05:34,467 --> 00:05:36,768 MURDERED WITH AN ANTIQUE HATCHET. 38 00:05:38,038 --> 00:05:40,154 NO SIGN OF FORCED ENTRY. 39 00:05:40,223 --> 00:05:43,090 NOTHIN' BROKEN. NOTHIN' RIFLED... 40 00:05:43,160 --> 00:05:45,600 OR STOLEN, EXCEPT... 41 00:05:48,849 --> 00:05:52,283 - THEIR LITTLE GIRL IS MISSING. - WHAT? 42 00:05:52,352 --> 00:05:55,187 YEAH. THAT WASN'T ON THE NEWS EITHER. 43 00:05:55,255 --> 00:05:57,455 FIVE-THOUSAND-DOLLAR ALARM SYSTEM... 44 00:05:57,524 --> 00:06:00,125 SHOULD HAVE SAVED THEMSELVES THE DOUGH AND GOTTEN A ROTTWEILER. 45 00:06:03,029 --> 00:06:05,197 WHAT WAS THE RESPONSE TIME? 46 00:06:05,265 --> 00:06:08,177 WELL, THE ALARM COMPANY SAID THEY WERE HERE IN A LITTLE OVER FIVE MINUTES. 47 00:06:08,201 --> 00:06:10,735 WE'RE CHECKIN' THAT OUT. 48 00:06:14,374 --> 00:06:17,292 THE HOUSE WAS FOR SALE. 49 00:06:17,361 --> 00:06:20,494 YEAH. THEY HAD AN OPEN HOUSE YESTERDAY. 50 00:06:20,563 --> 00:06:22,847 WE'VE GOT THE REAL ESTATE LADY COMING DOWN. 51 00:06:26,253 --> 00:06:28,333 THE KILLING WAS PREMEDITATED. 52 00:06:30,023 --> 00:06:32,168 THE KILLER MOST PROBABLY CAME TO THE OPEN HOUSE... 53 00:06:32,192 --> 00:06:34,220 AND HID SOMEPLACE UNTIL THE FAMILY RETURNED. 54 00:06:34,244 --> 00:06:37,524 HE WOULD HAVE SET THE ALARM OFF WHEN HE LEFT. 55 00:06:37,581 --> 00:06:40,832 WHAT ABOUT THE LITTLE GIRL? 56 00:07:12,198 --> 00:07:15,433 - I NEED A SCREWDRIVER, RIGHT NOW. - YEAH, HERE. 57 00:07:15,502 --> 00:07:17,836 HERE. 58 00:07:29,199 --> 00:07:33,117 - HOLY GOD. - GET THE E.R.T. GET HIM IN HERE NOW! 59 00:07:33,186 --> 00:07:35,986 NO, NO, NO. NOBODY'S GONNA HURT YOU, SWEETHEART. 60 00:07:37,206 --> 00:07:39,526 COME HERE. LET ME HELP YOU. 61 00:07:40,810 --> 00:07:43,662 EVERYTHING IS GONNA BE ALL RIGHT. 62 00:07:47,367 --> 00:07:49,316 EVERYTHING'S GONNA BE ALL RIGHT. 63 00:07:49,385 --> 00:07:51,736 NOBODY'S GOING TO HURT YOU. WE'RE HERE TO HELP YOU. 64 00:08:04,835 --> 00:08:08,803 HOW IS SHE? ALL INDICATION IS SHE'S GONNA BE FINE. 65 00:08:08,872 --> 00:08:12,724 HER FLUIDS WERE VERY LOW, BUT THERE'S NO EVIDENCE OF ANY PHYSICAL HARM... 66 00:08:12,792 --> 00:08:15,076 OTHER THAN EXTREME SHOCK. 67 00:08:15,145 --> 00:08:17,678 IT JUST... 68 00:08:19,065 --> 00:08:21,966 YEAH. I KNOW. 69 00:08:26,506 --> 00:08:30,024 IT'S OKAY. HEY. 70 00:08:30,093 --> 00:08:34,112 EVERYTHING'S OKAY, SWEETHEART. YOU'RE IN A SAFE PLACE. 71 00:08:34,180 --> 00:08:36,331 NO ONE'S GONNA HURT YOU HERE. 72 00:08:41,270 --> 00:08:45,223 COULD ONE OF YOU GET THE NURSE? YEAH, SURE. 73 00:08:55,952 --> 00:08:59,721 YOU CAN'T EXPECT TOO MUCH, BOB. WHAT DO YOU MEAN? 74 00:08:59,789 --> 00:09:02,574 I KNOW YOU'RE GONNA WANT TO TALK TO HER. 75 00:09:02,643 --> 00:09:05,977 I KNOW YOU'RE GONNA WANT TO KNOW WHAT SHE SAW. WE HAVE NO OTHER WITNESSES. 76 00:09:06,046 --> 00:09:08,880 WHAT SHE'S BEEN THROUGH, NO ONE... 77 00:09:08,949 --> 00:09:11,249 CHILD OR ADULT... SHOULD HAVE TO EXPERIENCE. 78 00:09:11,318 --> 00:09:14,652 IF SHE'S ASKED TO TALK ABOUT IT, IT'S LIKE ASKING HER TO RELIVE IT. 79 00:09:14,721 --> 00:09:18,306 I DON'T HAVE TO TELL YOU THAT THIS GUY IS OUT THERE SOMEWHERE. 80 00:09:18,374 --> 00:09:21,309 HE MURDERED THESE PEOPLE IN COLD BLOOD, CATHERINE. 81 00:09:21,378 --> 00:09:23,978 YOU CAN'T PUSH HER, BOB. 82 00:09:24,046 --> 00:09:26,180 SHE'S GOT TO DO THIS IN HER OWN TIME... 83 00:09:26,249 --> 00:09:28,199 IF AT ALL. 84 00:09:28,268 --> 00:09:32,070 WE'VE ALREADY GOT A DEPARTMENT SHRINK ON CALL TO WORK THIS. 85 00:09:32,138 --> 00:09:35,406 I'M ASKING YOU... PLEASE DON'T LET THE DEPARTMENT MAKE A MISTAKE... 86 00:09:35,475 --> 00:09:37,675 TRYING TO LEAPFROG THIS. 87 00:09:37,744 --> 00:09:39,634 IT'S ALREADY SOMETHING THAT THIS LITTLE GIRL'S 88 00:09:39,658 --> 00:09:41,696 GONNA HAVE TO LIVE WITH FOR THE REST OF HER LIFE. 89 00:09:50,207 --> 00:09:53,641 ABRAHAM LINCOLN, ELVIS AND MUHAMMED ALI... 90 00:09:53,710 --> 00:09:56,878 ALL SIGNED THE GUEST BOOK AT THE OPEN HOUSE. 91 00:09:56,946 --> 00:10:00,681 IN MY PROFESSIONAL OPINION, NONE ARE VIABLE SUSPECTS. 92 00:10:00,750 --> 00:10:03,734 WE'LL PUT AN A.P.B. OUT ON ELVIS JUST IN CASE. 93 00:10:03,803 --> 00:10:06,148 DID YOU FIND ANYTHING USEFUL? ONE NAME. 94 00:10:06,172 --> 00:10:08,517 IT'S INTERESTING THAT IT APPEARED TWO WEEKS EARLIER... 95 00:10:08,541 --> 00:10:11,409 - AT THE FIRST OPEN HOUSE THEY HELD THERE. - HE WAS CASING. 96 00:10:14,163 --> 00:10:19,067 JOHN ALLWORTH. THE SIGNATURE, CENTRIFUGAL. 97 00:10:19,136 --> 00:10:21,419 VERTICAL LINES, FORWARD EXPANSION... 98 00:10:21,488 --> 00:10:24,922 THE STROKES FORCEFUL, MEASURED, 99 00:10:24,991 --> 00:10:27,374 ALTERNATING CURSIVE AND PRINT. 100 00:10:27,443 --> 00:10:31,228 THIS MAN'S SIGNATURE'S PROBABLY BEEN THE SAME SINCE HE WAS OLD ENOUGH TO SIGN IT. 101 00:10:31,297 --> 00:10:34,143 WHAT DOES THAT TELL YOU? THAT THE SIGNER IS DELIBERATE. 102 00:10:34,167 --> 00:10:36,450 HE HAS FOCUS. 103 00:10:36,519 --> 00:10:40,955 BUT THAT THIS IS TO CONTAIN HIS RAGE OR HIS ANGER. 104 00:10:41,024 --> 00:10:44,843 THAT HE CAN BE EXPLOSIVE, PRONE TO OUTBURSTS OF VIOLENCE. 105 00:10:44,911 --> 00:10:48,012 - NO KIDDING. - EVEN IF THIS IS THE GUY, 106 00:10:48,081 --> 00:10:50,181 IT'S OBVIOUSLY AN ALIAS. 107 00:10:50,250 --> 00:10:52,210 THE ADDRESS HE LEFT HAS GOT TO BE A PHONY. 108 00:10:52,234 --> 00:10:54,401 HIGH PROBABILITY, BUT NOT A CERTAINTY. 109 00:10:54,470 --> 00:10:56,335 IF HE'S NOT JOHN ALLWORTH, MAYBE IT'S 110 00:10:56,359 --> 00:10:58,656 SOMEBODY HE KNOWS OR SOMEBODY THAT KNOWS HIM. 111 00:10:58,724 --> 00:11:01,326 THE MAN WE'RE LOOKING FOR IS A RISK TAKER. 112 00:11:01,394 --> 00:11:04,628 BUT A DELIBERATE MAN, AS JAMES SAID. 113 00:11:04,697 --> 00:11:06,730 HE LEFT THE CHILD ALIVE FOR A REASON. 114 00:11:06,799 --> 00:11:08,866 HE SIGNED HIS NAME JOHN ALLWORTH FOR A REASON. 115 00:11:08,935 --> 00:11:12,015 WE'LL CATCH HIM IF WE CAN FIND OUT WHAT THAT REASON IS. 116 00:11:19,846 --> 00:11:22,113 MR. ALLWORTH. 117 00:11:25,885 --> 00:11:29,187 HEY, SEE IF THE MANAGER LIVES IN THE BUILDING. 118 00:11:29,256 --> 00:11:31,456 FAT CHANCE OF THAT. 119 00:11:41,901 --> 00:11:44,569 YES? WHAT? 120 00:11:44,637 --> 00:11:47,905 I'M DETECTIVE GEIBELHOUSE WITH THE SEATTLE POLICE DEPARTMENT, SIR. 121 00:11:47,974 --> 00:11:50,809 - ARE YOU THE RESIDENT HERE? - YES. 122 00:11:50,877 --> 00:11:53,389 - DO YOU KNOW YOUR NEIGHBOR, MR. JOHN ALLWORTH? - WHO? 123 00:11:53,413 --> 00:11:55,747 JOHN ALLWORTH. HE LIVES NEXT DOOR. 124 00:11:55,815 --> 00:11:59,501 - HE DOES? - DO YOU KNOW THE GUY THAT LIVES RIGHT OVER HERE? 125 00:12:00,537 --> 00:12:03,588 NO. SO, WHAT'S THE BIG DEAL? 126 00:12:03,657 --> 00:12:07,058 WE'RE TRYIN' TO LOCATE MR. JOHN ALLWORTH, THE MAN WHO LIVES NEXT DOOR. 127 00:12:07,126 --> 00:12:09,171 IT'S PART OF AN INVESTIGATION. 128 00:12:09,195 --> 00:12:11,996 I DON'T KNOW ANYTHING ABOUT THAT. WELL, THANKS. 129 00:12:42,178 --> 00:12:46,430 THERE WERE 4,900 OPEN HOUSES IN KING COUNTY OVER THE LAST SIX MONTHS. 130 00:12:46,499 --> 00:12:49,500 GRAPHOLOGICAL ANALYSIS MATCHES THE PERPETRATOR'S SIGNATURE... 131 00:12:49,569 --> 00:12:52,102 TO AT LEAST 37 SIGN-IN REGISTERS... 132 00:12:52,171 --> 00:12:57,992 USING THE NAME JOHN ALLWORTH, TRAVIS BICKLE AND RUDYARD HOLMBAST. 133 00:12:58,061 --> 00:13:00,795 "RUDYARD HOLMBAST"? THAT'S CORRECT. 134 00:13:00,864 --> 00:13:04,198 SO, WHAT? YOU WANT US TO GO OUT AND KNOCK ON HIS DOOR TOO? 135 00:13:04,267 --> 00:13:08,202 THERE ARE OVER 30 HOUSES HE DIDN'T CHOOSE FOR ONE REASON OR ANOTHER. 136 00:13:08,271 --> 00:13:11,338 FIND THOSE REASONS, FIND A PATTERN... 137 00:13:11,407 --> 00:13:14,854 AND YOU MOVE CLOSER TO THE KILLER, TO WHAT IS GOING ON IN HIS HEAD. 138 00:13:14,878 --> 00:13:18,479 COME ON, FRANK. I MEAN, WHAT IF IT WAS JUST RANDOM? 139 00:13:18,547 --> 00:13:20,394 WHAT IF... WHAT IF THIS GUY JUST CHOSE HIS 140 00:13:20,418 --> 00:13:22,467 VICTIMS BECAUSE THEY WERE THE MOST CONVENIENT? 141 00:13:22,535 --> 00:13:24,746 THEN THAT WILL TELL US SOMETHING ABOUT HIM TOO. 142 00:13:24,770 --> 00:13:27,338 I THINK WE'RE WASTIN' OUR TIME WITH THIS APPROACH, FRANK. 143 00:13:27,407 --> 00:13:30,241 YOU DON'T HAVE MUCH ELSE TO GO ON AT THIS POINT. 144 00:13:30,309 --> 00:13:32,260 WE'VE GOT THE LITTLE GIRL. 145 00:13:35,765 --> 00:13:40,835 DR. LEVINSON, METABOLIC UNIT. DR. LEVINSON, METABOLIC UNIT. 146 00:13:40,904 --> 00:13:43,087 THAT'S VERY GOOD, PATRICIA. 147 00:13:44,774 --> 00:13:46,707 IS THAT A FACE IN THERE? 148 00:13:50,496 --> 00:13:52,496 KIND OF HID IT IN THERE, DIDN'T YOU? 149 00:13:53,966 --> 00:13:56,267 THAT'S VERY CLEVER OF YOU. 150 00:13:58,188 --> 00:14:00,254 YOU WANT TO SEE WHAT I BROUGHT YOU? 151 00:14:02,258 --> 00:14:04,609 IT'S FOR YOUR HAIR. 152 00:14:04,678 --> 00:14:09,180 IT'S FROM A GIRL WHO'S ALMOST THE SAME AGE AS YOU. 153 00:14:09,248 --> 00:14:13,434 HER NAME'S JORDAN, AND WHEN I TOLD HER ABOUT YOU, 154 00:14:13,503 --> 00:14:17,354 SHE ASKED ME IF YOUR HAIR WAS PRETTY. 155 00:14:17,423 --> 00:14:21,191 AND I TOLD HER IT WAS LONG AND STRAIGHT AND BEAUTIFUL. 156 00:14:21,260 --> 00:14:23,894 AND SHE WAS SO JEALOUS, BECAUSE... 157 00:14:23,963 --> 00:14:27,465 SHE HAS CURLY HAIR, AND SHE WANTS IT TO BE STRAIGHT. 158 00:14:29,185 --> 00:14:31,085 I BET YOU WANT CURLY HAIR, DON'T YOU? 159 00:14:34,524 --> 00:14:36,540 CAN I PUT THIS IN YOUR HAIR, PATRICIA? 160 00:14:48,538 --> 00:14:50,821 OH, THAT'S VERY PRETTY. 161 00:14:50,890 --> 00:14:53,274 I WANT TO GO HOME. 162 00:14:55,010 --> 00:14:58,546 I KNOW YOU DO. I'M SORRY, 163 00:14:58,615 --> 00:15:00,615 BUT YOU HAVE TO STAY HERE. 164 00:15:02,385 --> 00:15:05,786 IT'S JUST BECAUSE EVERYBODY WANTS YOU TO BE SAFE, OKAY? 165 00:15:09,258 --> 00:15:11,959 I THINK WE SHOULD DO SOME MORE CRAYONS. 166 00:15:13,529 --> 00:15:18,099 I'M GONNA DRAW A PICTURE OF A PRETTY LITTLE GIRL WITH A PINK BOW. 167 00:15:18,167 --> 00:15:21,469 WHAT ABOUT YOU? 168 00:15:29,496 --> 00:15:33,831 WHAT ARE WE GONNA FIND THAT AN ARMY OF TECHS MISSED? 169 00:15:33,900 --> 00:15:35,833 MAYBE NOTHING. 170 00:16:21,998 --> 00:16:24,865 LOOKS LIKE THE KILLER COULD HAVE TAKEN SOMETHING. 171 00:16:24,934 --> 00:16:28,168 - A V.C.R.? - COULD BE. 172 00:16:28,237 --> 00:16:30,588 THAT'S CAT BURGLAR STUFF, FRANK. 173 00:16:33,109 --> 00:16:35,042 MAYBE NOT. 174 00:16:58,117 --> 00:17:00,768 - IT'S EMPTY. - YEAH. 175 00:17:04,307 --> 00:17:08,509 PLEASE. LET HER GO! MY BABY! 176 00:17:08,577 --> 00:17:11,712 PLEASE, LET HER GO! MY BABY! 177 00:17:14,734 --> 00:17:18,102 MARY KAY! 178 00:17:18,171 --> 00:17:21,505 PLEASE, LET HER GO! MY BABY! 179 00:17:21,574 --> 00:17:25,042 MARY KAY! 180 00:17:50,152 --> 00:17:54,488 NO, I'M SORRY. SHE'S NOT IN RIGHT NOW. WOULD YOU LIKE HER VOICE MAIL? 181 00:17:54,557 --> 00:17:56,891 HI! HOW ARE YOU TODAY? HEY, HOW YA DOIN'? 182 00:17:56,959 --> 00:17:59,104 I THINK I'M PRETTY GOOD. I'M GETTING BETTER. 183 00:17:59,128 --> 00:18:02,073 CAN'T BEAT THAT WITH A STICK, HUH? THANKS. YOU HAVE A GOOD DAY. 184 00:18:02,097 --> 00:18:05,032 THANKS. SEE YOU TOMORROW. 185 00:18:30,409 --> 00:18:32,654 YOU CAN TAKE ANYTHING YOU WANT! 186 00:18:32,678 --> 00:18:34,990 WHAT DO YOU WANT? 187 00:18:35,014 --> 00:18:37,348 MY BABY! PLEASE, LET HER GO! 188 00:18:37,416 --> 00:18:41,602 PLEASE, LET HER GO! MY BABY! 189 00:18:52,248 --> 00:18:55,449 WHY SEND IT TO THE REALTOR? TO TERRIFY HER, POSSIBLY. 190 00:18:55,517 --> 00:18:59,403 OR TO PUNISH HER, AS HE PUNISHED THE FAMILY... 191 00:18:59,472 --> 00:19:01,472 FOR SOME TWISTED IMAGINARY CRIME. 192 00:19:01,540 --> 00:19:04,358 THE CLOCK IS TICKING, ISN'T IT? 193 00:19:04,427 --> 00:19:08,178 YES. 194 00:19:10,049 --> 00:19:14,268 - WORD'S GONNA GET OUT. - THAT MIGHT BE WHAT HE WANTS, BLETCH. 195 00:19:14,337 --> 00:19:16,771 AND WHATEVER YOU CAN DO NOT TO GIVE HIM WHAT HE WANTS, 196 00:19:16,839 --> 00:19:20,340 THE BETTER CHANCE YOU HAVE OF DRAWING HIM INTO THE OPEN, CATCHING HIM. 197 00:19:22,962 --> 00:19:25,129 YOU AND ME, UH, 198 00:19:25,198 --> 00:19:29,767 WE KEEP BEATING AROUND THE BUSH ABOUT THIS LITTLE GIRL. 199 00:19:29,835 --> 00:19:32,703 CAN'T DO IT, BOB. 200 00:19:57,413 --> 00:20:00,247 HI, THERE. HOW ARE YOU? 201 00:20:02,301 --> 00:20:04,301 HI, THERE. HOW ARE YOU? 202 00:20:04,370 --> 00:20:06,520 HI, THERE. HOW ARE YOU? 203 00:20:06,589 --> 00:20:08,773 HI, THERE. HOW ARE YOU? 204 00:20:10,759 --> 00:20:14,228 FINE. HOW ARE YOU? 205 00:20:14,297 --> 00:20:17,798 GOOD. GOOD. COME ON IN. 206 00:20:17,867 --> 00:20:20,701 WE HAVE WINE AND CHEESE, IF YOU'D LIKE. 207 00:20:20,769 --> 00:20:23,570 PLEASE FEEL FREE TO LOOK AROUND. 208 00:20:23,639 --> 00:20:26,207 I WAS HOPING YOU MIGHT, YOU KNOW, 209 00:20:26,275 --> 00:20:28,876 GIVE ME THE TOUR. OH, CERTAINLY. 210 00:20:28,945 --> 00:20:32,346 BY ALL MEANS. WHY DON'T WE START WITH THE UPSTAIRS? 211 00:20:33,649 --> 00:20:35,582 CAN I ASK YOU FIRST, 212 00:20:35,651 --> 00:20:38,052 THIS HOUSE HAS AN ALARM SYSTEM, DOESN'T IT? 213 00:20:38,120 --> 00:20:41,388 OH, A VERY SOPHISTICATED SYSTEM, THE VERY BEST. 214 00:20:41,457 --> 00:20:43,719 YOU SEE THAT MOTION DETECTOR THERE? 215 00:20:43,743 --> 00:20:46,577 THOSE ARE INSTALLED IN EVERY ROOM IN THE HOUSE. 216 00:20:46,646 --> 00:20:49,713 IF YOU HAVE VALUABLE ARTWORK OR ANYTHING YOU WANT TO PROTECT, 217 00:20:49,782 --> 00:20:53,016 THE SYSTEM USES A WIRELESS LINK TO A PRIVATE HOME SECURITY COMPANY. 218 00:20:54,119 --> 00:20:57,421 CAN YOU DEMONSTRATE IT FOR ME? SURE. 219 00:20:57,490 --> 00:20:59,956 IF I CAN REMEMBER HOW. 220 00:21:24,417 --> 00:21:27,457 - GET THE CODE? - YEAH, I GOT IT. 221 00:21:29,755 --> 00:21:32,556 STATE-OF-THE-ART ALARM SYSTEM, THE SON OF A BITCH WALKED RIGHT PAST IT. 222 00:21:32,625 --> 00:21:35,075 HOW? I DON'T KNOW. 223 00:21:35,144 --> 00:21:37,811 IT WASN'T EVEN SET OFF THIS TIME. 224 00:21:37,879 --> 00:21:40,091 MY GUYS TRIPPED IT WHEN THEY GOT THE 911 CALL. 225 00:21:40,115 --> 00:21:43,683 YOU GOT A 911 CALL? YEAH. REPORT OF A BREAK-IN. 226 00:21:43,753 --> 00:21:46,387 YOU HEAR IT? NO, NOT YET. WHY? 227 00:21:46,456 --> 00:21:49,657 CHANCES ARE YOU GOT A RECORDING OF THE KILLER'S VOICE. 228 00:21:49,725 --> 00:21:53,010 GONNA NEED ANOTHER UNIFORM TO HELP WITH THE CANVASS. 229 00:21:53,079 --> 00:21:56,146 WANT ME TO CALL IN FOR THAT? 230 00:21:56,215 --> 00:22:01,469 YOU MIGHT WANT TO RUN THIS KEYPAD FOR PRINTS. YEAH. HOLD ON A SEC. 231 00:22:01,537 --> 00:22:04,738 YOU THINK HE KNEW THE ALARM CODE? 232 00:22:04,807 --> 00:22:07,441 UNLESS THE SYSTEM WASN'T ACTIVATED. 233 00:22:07,510 --> 00:22:09,621 THE WOMAN DIED WITH THE PANIC SWITCH IN HER HAND. 234 00:22:09,645 --> 00:22:12,613 HE SHOT HER POINT-BLANK WITH A 12-GAUGE, FRANK. 235 00:22:12,681 --> 00:22:15,582 IT COULD HAVE BEEN STAGED, BLETCH. PROBABLY WAS. 236 00:22:16,718 --> 00:22:20,754 SO HE, UH, KILLS HER, THEN HE CALLS 911. 237 00:22:22,591 --> 00:22:26,443 THE VICTIM'S DIVORCED. THERE'S NO CHILDREN LIVING AT HOME. 238 00:22:26,512 --> 00:22:29,032 WE HAVE A WHOLE NEW PATTERN HERE, FRANK. 239 00:22:29,098 --> 00:22:32,032 DID YOU FIND THE MURDER WEAPON? NO, NOT YET. 240 00:22:32,101 --> 00:22:36,737 HE TAKES CHANCES, BUT EVERYTHING'S CONSIDERED, AS IF SCRIPTED, PLANNED... 241 00:22:36,806 --> 00:22:40,707 WHAT TO LEAVE, WHAT TO TAKE, WHAT HE WANTS US TO SEE, 242 00:22:40,776 --> 00:22:43,977 WHAT HE WANTS OTHERS TO SEE. 243 00:22:44,046 --> 00:22:46,646 HE'S LEAVING A RECORD OF THE EVENTS... 244 00:22:48,184 --> 00:22:50,417 VIDEOS, 911 CALLS, WITNESSES. 245 00:23:23,018 --> 00:23:28,389 DR. RUBIN, PSYCHIATRIC UNIT. DR. RUBIN, PSYCHIATRIC UNIT. 246 00:23:28,457 --> 00:23:32,626 WHAT ARE YOU MAKING THERE, PATRICIA? WHAT IS THAT? 247 00:23:36,932 --> 00:23:39,850 I DON'T KNOW WHAT THAT IS. 248 00:23:39,919 --> 00:23:42,803 ARE THESE CHILDREN HERE? 249 00:23:45,858 --> 00:23:48,525 ARE THEY YOUR FRIENDS? 250 00:23:50,512 --> 00:23:53,225 I BET YOUR FRIENDS ARE GONNA BE SO HAPPY WHEN THEY SEE YOU. 251 00:23:53,249 --> 00:23:56,484 I WANT MY MOMMY AND MY DADDY. 252 00:24:01,590 --> 00:24:04,458 WHAT DO YOU WANT? 253 00:24:04,526 --> 00:24:08,896 - PLEASE, LET HER GO! - MY BABY! 254 00:24:08,965 --> 00:24:12,332 PLEASE, LET HER GO! MY BABY! 255 00:24:12,401 --> 00:24:15,368 MARY KATE! 256 00:25:06,622 --> 00:25:09,223 - HELLO? - FRANK, IT'S BOB. 257 00:25:09,291 --> 00:25:11,858 JUST GOT OFF THE PHONE WITH ONE OF OUR BUNCO GUYS. 258 00:25:11,927 --> 00:25:14,156 THAT VIDEO CAMERA THAT WAS STOLEN FROM THE CRIME SCENE? 259 00:25:14,180 --> 00:25:16,774 YEAH? IT TURNED UP IN A PAWNSHOP IN BELLINGHAM. 260 00:25:16,798 --> 00:25:19,978 WE'VE GOT THE OWNER DOWNTOWN RIGHT NOW WORKING WITH OUR IDENTIKIT ARTIST. 261 00:25:20,002 --> 00:25:22,764 - I MAY BE ABLE TO HELP YOU OUT THERE, BLETCH. - WHAT DO YOU MEAN? 262 00:25:22,788 --> 00:25:24,666 I JUST PULLED SOMETHING OFF THE VIDEOTAPE. 263 00:25:24,690 --> 00:25:28,876 THE MILLENNIUM GROUP HAS SOMEONE THAT CAN PROBABLY CLEAN IT UP FOR US. 264 00:25:28,944 --> 00:25:31,122 WE MAY HAVE A PORTRAIT. A FACE? 265 00:25:31,146 --> 00:25:32,779 YEAH. 266 00:25:34,817 --> 00:25:37,917 YOU STILL ADAMANT ABOUT NOT SHOWING ANYTHING TO THE LITTLE GIRL, FRANK? 267 00:25:40,122 --> 00:25:42,155 FRANK? 268 00:25:42,224 --> 00:25:45,358 I'M CONSIDERING IT, BOB. 269 00:25:56,722 --> 00:25:59,573 HI, BENNY! 270 00:25:59,641 --> 00:26:01,925 DADDY'S HOME! HEY, PUMPKIN PIE! HOW ARE YOU? 271 00:26:01,994 --> 00:26:03,760 GOOD. HOW WAS YOUR DAY? 272 00:26:03,829 --> 00:26:05,774 GOOD. YEAH? YOU WANT TO TELL ME ABOUT IT? 273 00:26:05,798 --> 00:26:09,133 SURE. FIRST, WE'RE GONNA GO UPSTAIRS AND TAKE A BATH... 274 00:26:09,201 --> 00:26:11,512 AND GET THOSE LITTLE PIGGIES OF HERS ALL CLEANED UP. 275 00:26:11,536 --> 00:26:14,872 LITTLE PIGGIES? HOW'D THOSE LITTLE PIGGIES GET SO DIRTY? AT SCHOOL. 276 00:26:16,291 --> 00:26:18,958 I'LL BE UP IN A LITTLE BIT. OKAY. 277 00:26:19,027 --> 00:26:22,196 - HI. - HI. 278 00:26:22,264 --> 00:26:24,264 GOT SOMETHING TO SHOW YOU. 279 00:26:26,001 --> 00:26:28,635 JORDAN'S? NO, THEY'RE PATRICIA'S. 280 00:26:28,704 --> 00:26:31,421 I DROPPED JORDAN AT DAY CARE AND SPENT MOST OF THE MORNING WITH HER. 281 00:26:31,490 --> 00:26:33,490 DID YOU TALK TO HER ABOUT THESE? 282 00:26:33,559 --> 00:26:36,488 AS MUCH AS I COULD. SHE STARTED ASKING ABOUT HER PARENTS. 283 00:26:36,512 --> 00:26:39,407 I THINK THEY'RE SIGNIFICANT THOUGH, FRANK. 284 00:26:39,431 --> 00:26:41,347 THEY ARE. 285 00:26:41,417 --> 00:26:44,183 WE FOUND THAT THE MAN WE'RE LOOKING FOR LEFT A RED "X"... 286 00:26:44,252 --> 00:26:47,771 JUST LIKE THESE AT THE SECOND CRIME SCENE. 287 00:26:47,839 --> 00:26:51,107 HOW WOULD PATRICIA KNOW? I DON'T KNOW. 288 00:26:51,176 --> 00:26:53,744 MAYBE IT WAS SOMETHING HE WAS WEARING. 289 00:26:57,683 --> 00:26:59,616 WE'VE MADE SOME PROGRESS TOO. 290 00:27:00,886 --> 00:27:03,387 IT'S A PICTURE TO WORK WITH, AN IMAGE TO WORK FROM. 291 00:27:04,940 --> 00:27:08,291 YOU WANT MY PERMISSION. I DO. 292 00:27:09,528 --> 00:27:11,544 I DON'T THINK THEY'RE GOING TO BE AS COURTEOUS. 293 00:27:11,613 --> 00:27:15,666 I CAN'T STOP THEM, FRANK. BUT MY FEELINGS ARE THE SAME. 294 00:27:16,768 --> 00:27:18,685 WHAT IF YOU SHOWED IT TO HER? 295 00:27:18,754 --> 00:27:23,139 WHAT IS SHE GONNA SAY? MAYBE SHE KNOWS HIM. 296 00:27:23,209 --> 00:27:25,309 MAYBE IT'S A NEIGHBOR. 297 00:27:29,999 --> 00:27:31,931 SOMEONE THE FAMILY COMES INTO CONTACT WITH. 298 00:27:34,703 --> 00:27:37,716 I'LL DO IT, FRANK, IF YOU THINK IT'S THE ONLY WAY. 299 00:27:40,242 --> 00:27:43,026 NO. 300 00:27:45,997 --> 00:27:48,598 - THAT'S WHAT HE WANTS. - WHAT ARE YOU TALKING ABOUT? 301 00:27:48,667 --> 00:27:50,584 THAT'S WHAT HE'S WANTED ALL ALONG, 302 00:27:50,653 --> 00:27:52,919 FOR US TO USE THE CHILD. 303 00:27:57,192 --> 00:27:59,771 IT'S SO CLEAR FROM THE CLUES... 304 00:27:59,795 --> 00:28:02,162 THE VIDEO, THE AUDIOTAPE... 305 00:28:02,230 --> 00:28:04,397 BRINGING THOSE TO HER WOULD BE AN OBVIOUS TACK. 306 00:28:04,466 --> 00:28:06,500 HE WANTS HER TO RELIVE IT. 307 00:28:06,569 --> 00:28:09,369 PROBABLY SOMETHING HE'S RELIVED ALL HIS LIFE. 308 00:28:09,438 --> 00:28:12,539 BLETCHER. YEAH, BOB, IT'S ME. I WANT TO TALK TO YOU. 309 00:28:12,608 --> 00:28:16,025 I WANT TO TALK TO YOUR MEN. I DON'T WANT ANYBODY GOIN' DOWN TO SEE THAT LITTLE GIRL. 310 00:28:16,095 --> 00:28:18,728 CAN I HAVE YOUR PROMISE ON THAT? WHY, FRANK? SHE'S THE KEY. 311 00:28:18,797 --> 00:28:21,030 YEAH, I KNOW SHE'S THE KEY, 312 00:28:21,100 --> 00:28:23,082 JUST NOT THE WAY WE THOUGHT. 313 00:28:37,666 --> 00:28:40,400 WHAT HAVE YOU GOT? SHOTGUN DUMPED IN THE GARBAGE. 314 00:28:40,469 --> 00:28:44,137 TWELVE-GAUGE... SPECKS OF BLOOD ON THE STOCK AND BARREL. 315 00:28:44,206 --> 00:28:47,907 WHO FOUND IT? A GROUP OF SCHOOLKIDS OVER THERE. 316 00:28:47,976 --> 00:28:50,344 IT WAS CALLED IN BY THAT CROSSING GUARD. 317 00:28:54,049 --> 00:28:57,317 EXCUSE ME, SIR. CAN I SPEAK WITH YOU? 318 00:28:59,488 --> 00:29:01,421 YES, OF COURSE. 319 00:29:01,490 --> 00:29:04,023 RIGHT AFTER I HELP THE KIDS TO SAFETY. 320 00:29:12,634 --> 00:29:16,169 - GO! GO! GO! GO! GO! GO! - GO-GO-GO-GO-GO-GO-GO-GO! 321 00:29:23,028 --> 00:29:25,896 GO, GO, GO! 322 00:29:28,384 --> 00:29:31,618 - CALL IT OUT! CALL IT OUT! - BEDROOM'S CLEAR! 323 00:29:31,686 --> 00:29:33,981 HEY, GET THIS CLEAR! ALL RIGHT, LET'S GET THE TECH GUYS IN HERE. 324 00:29:34,005 --> 00:29:36,017 TURN THIS PLACE INSIDE OUT. NO ONE'S HERE. 325 00:29:36,041 --> 00:29:39,877 I WANT ALL THESE VIDEOCASSETTES CATALOGUED AND PACKED OFF TO MY OFFICE A.S.A.P. 326 00:29:42,531 --> 00:29:45,215 YOU THINK HE'S LONG GONE? NOT THE CITY. 327 00:29:45,283 --> 00:29:48,268 HE LEFT US THE SHOTGUN TO LEAD US TO HIS APARTMENT... 328 00:29:48,336 --> 00:29:50,336 TO PROVE WE COULDN'T FIND HIM. 329 00:29:50,406 --> 00:29:52,338 DAMN. 330 00:29:52,408 --> 00:29:55,253 TWO HOURS EARLIER, THE OFFICER THAT TOOK HIS REPORT WOULD HAVE SEEN HIS PICTURE. 331 00:29:55,277 --> 00:29:58,345 - HE'S RUNNING NOW. - WHERE? 332 00:29:58,414 --> 00:30:01,314 TO GLOAT, TO FIGURE OUT HIS NEXT MOVE, 333 00:30:01,383 --> 00:30:03,361 TO SHOW US HOW CLEVER HE IS. 334 00:30:03,385 --> 00:30:06,069 I DON'T CARE HOW CLEVER HE IS. 335 00:30:06,137 --> 00:30:08,316 WE PUT HIS PICTURE IN THE PAPER, THIS GUY WON'T BE ABLE... 336 00:30:08,340 --> 00:30:10,540 TO CROSS THE STREET WITHOUT STARTIN' A PARADE. 337 00:30:10,609 --> 00:30:13,343 YOU MAKE HIM TOO FAMOUS AND HE'S GONNA DISAPPEAR ON US ALTOGETHER. 338 00:30:13,411 --> 00:30:16,290 THEN WHAT? YOU'VE GOT FIVE DAYS TILL SATURDAY. 339 00:30:16,314 --> 00:30:19,583 FIVE DAYS TO ANTICIPATE HOW HE'LL UP THE ANTE. 340 00:30:20,836 --> 00:30:22,964 YOU THINK HE'S GOT THE EGGS TO HIT ANOTHER FAMILY? 341 00:30:22,988 --> 00:30:28,241 HE'S TEACHING US A LESSON, ABOUT OUR PRETENSIONS TO SAFETY, 342 00:30:28,310 --> 00:30:30,260 ABOUT HOW VULNERABLE WE ARE. 343 00:30:31,780 --> 00:30:35,382 AND THE GUY'S WORKING AS A CROSSING GUARD, FOR GOD'S SAKE. 344 00:30:35,451 --> 00:30:38,084 HE WANTED THAT LITTLE GIRL TO RELIVE HIS NIGHTMARES. 345 00:30:39,755 --> 00:30:42,439 HOW DO YOU INCREASE THE STAKES? 346 00:30:43,792 --> 00:30:46,660 BY MAKING US ALL RELIVE IT. 347 00:31:00,458 --> 00:31:02,375 I COULDN'T FIND YOU. 348 00:31:04,146 --> 00:31:06,412 SORRY, I NEEDED SOME AIR. 349 00:31:06,481 --> 00:31:09,783 SHARE SOME AIR WITH ME? 350 00:31:09,852 --> 00:31:13,052 PRETTY CHEEKY, AREN'T YOU? THAT'S ME. 351 00:31:17,025 --> 00:31:19,726 YOU THINKING? YEAH. 352 00:31:19,795 --> 00:31:22,896 THINKIN' ABOUT MY PARENTS, MY GRANDPARENTS. 353 00:31:22,964 --> 00:31:25,999 FORTY OR 50 YEARS AGO, 354 00:31:26,068 --> 00:31:28,435 THEY NEVER LOCKED THEIR DOORS DAY OR NIGHT. 355 00:31:31,039 --> 00:31:33,439 WE SEEM TO HAVE ACCEPTED IT SO... 356 00:31:33,509 --> 00:31:36,376 GRACEFULLY, SO NATURALLY. 357 00:31:36,444 --> 00:31:38,778 THE SECURITY SYSTEMS... 358 00:31:40,582 --> 00:31:44,551 WE'VE ALLOWED OURSELVES TO BECOME ALMOST BESIEGED BY OUR OWN FEAR. 359 00:31:44,619 --> 00:31:47,059 IF YOU'RE NOT AFRAID, YOU'RE LIVING IN DENIAL. 360 00:31:48,673 --> 00:31:52,476 THE WORLD'S CHANGED. YEAH, I KNOW. 361 00:31:52,544 --> 00:31:55,061 YOU CAN'T TURN IT BACK. 362 00:31:57,132 --> 00:32:00,266 BUT WE WONDER... WHERE ARE WE HEADED FROM HERE? 363 00:32:02,487 --> 00:32:04,788 MMM. 364 00:33:03,515 --> 00:33:06,550 HI. WELCOME TO IVY MEADOWS. 365 00:33:06,618 --> 00:33:08,618 I'LL GIVE YOU ONE OF OUR BROCHURES, 366 00:33:08,687 --> 00:33:11,421 AND SHALL WE START IN THE KITCHEN? 367 00:33:11,489 --> 00:33:14,157 RIGHT THIS WAY. WE HAVE, UH, 368 00:33:14,225 --> 00:33:17,226 STATE-OF-THE-ART EQUIPMENT IN HERE AND, UH... 369 00:33:17,295 --> 00:33:20,430 NOTHIN' BOSS. JUST LOOKY-LOOS. 370 00:33:20,499 --> 00:33:22,833 MAKE YOURSELF AT HOME, PAL. IT COULD BE A LONG DAY. 371 00:33:22,901 --> 00:33:26,035 BE REAL EASY, LET ME TELL YOU. 372 00:33:27,405 --> 00:33:30,306 HAVE ANY OF THE OTHER HOUSES CHECKED IN? NO. 373 00:33:30,375 --> 00:33:32,876 EITHER HE GOT A WHIFF OF US, OR HE BEAT IT OUT OF TOWN. 374 00:33:34,279 --> 00:33:37,396 I REALLY DON'T THINK THIS IS GONNA HAPPEN, FRANK. 375 00:33:44,139 --> 00:33:47,490 ENTRYWAY. WHITE MALE. TALL. GLASSES. 376 00:33:47,559 --> 00:33:49,643 OUR GUY? 377 00:33:49,711 --> 00:33:52,245 I CAN'T TELL FOR SURE. 378 00:33:53,581 --> 00:33:55,815 - GIVE HIM LOTS OF SPACE. - YEAH, DON'T CROWD HIM. 379 00:33:55,884 --> 00:33:59,418 YEP. HELLO, SIR. WELCOME TO IVY MEADOWS. 380 00:33:59,487 --> 00:34:02,322 MAY I ASK YOU A FEW QUESTIONS? CERTAINLY. 381 00:34:02,390 --> 00:34:05,124 IS THIS THE MODEL UNIT? YES, IT IS. 382 00:34:05,193 --> 00:34:07,238 BUT THE CONTRACTOR AND HIS FAMILY ARE LIVING HERE CURRENTLY. 383 00:34:07,262 --> 00:34:11,248 OH. IT HARDLY SEEMS LIVED IN AT ALL. 384 00:34:11,316 --> 00:34:14,756 IF IT IS HIM. HE'S HEADING RIGHT TO YOU. 385 00:34:16,989 --> 00:34:20,423 IS THIS HOW YOU GET TO THE GARAGE? YES, STRAIGHT AHEAD. 386 00:34:20,492 --> 00:34:23,392 JUST ADJACENT TO THE WASHROOM THERE. 387 00:34:33,538 --> 00:34:36,898 THE OWNERS LOCKED THEIR CAT IN. I DON'T HAVE A KEY. I'M SORRY. 388 00:34:42,547 --> 00:34:45,482 THAT'S OKAY. I'D LIKE TO SEE THE UPSTAIRS. 389 00:34:45,550 --> 00:34:47,767 RIGHT THIS WAY. 390 00:34:47,836 --> 00:34:49,902 YOU'LL LOVE THE UPSTAIRS. 391 00:34:49,971 --> 00:34:52,656 THE MASTER BEDROOM IS JUST TO DIE FOR. YOU'VE GOT... 392 00:34:52,724 --> 00:34:55,024 TWIN SINKS AND A WHIRLPOOL BATH, 393 00:34:55,093 --> 00:34:57,193 LARGE WALK-IN CLOSETS IN ALL THE ROOMS, AND... 394 00:34:57,261 --> 00:34:59,440 AND A GORGEOUS VIEW FROM THE MASTER BEDROOM. 395 00:34:59,464 --> 00:35:02,982 - OLLY OLLY OXEN. HE'S GOIN' UPSTAIRS. - LET'S GO. 396 00:35:13,145 --> 00:35:16,746 WHERE'S THE GUY THAT WAS WITH YOU? HE'S USING THE BATHROOM. 397 00:35:26,357 --> 00:35:30,059 CHECK THE BEDROOMS. ALL THE CLOSETS. HE'S GONE. 398 00:35:31,095 --> 00:35:33,029 YEAH, WE'RE ABOUT FINISHED UP HERE. 399 00:35:33,098 --> 00:35:35,093 WERE YOU ABLE TO FIND A VEHICLE? NO, NO. 400 00:35:35,117 --> 00:35:37,049 WE DIDN'T FIND A VEHICLE. 401 00:35:37,119 --> 00:35:40,159 HE MAY HAVE ARRIVED ON FOOT, THE SAME WAY HE LEFT. ROGER THAT. 402 00:35:40,205 --> 00:35:42,450 ARE WE GONNA BE ABLE TO REACH YOU? YEAH. 403 00:35:42,474 --> 00:35:44,774 I'LL BE ON A RADIO IF YOU NEED ME. GOOD. OVER. 404 00:35:44,842 --> 00:35:47,726 OUT. 405 00:35:49,298 --> 00:35:52,865 THIS GUY BOOKED IT, FRANK. I DON'T THINK SO. 406 00:35:52,934 --> 00:35:55,585 WE'VE BEEN LOOKIN' FOR FIVE-AND-A-HALF HOURS, FRANK. 407 00:35:55,654 --> 00:35:57,670 I'M TELLIN' YA. HE'S GONE WITH THE WIND. 408 00:35:57,739 --> 00:35:59,750 HE'S HERE. I JUST KNOW IT. 409 00:35:59,774 --> 00:36:02,237 GET THE BLUE-AND-WHITES OUT OF HERE. CLEAR EVERYBODY OUT. 410 00:36:02,261 --> 00:36:04,661 THEN YOU AND I GO FOR A WALK. 411 00:36:06,832 --> 00:36:08,765 GEIBELHOUSE? YEAH. 412 00:36:08,834 --> 00:36:12,134 LET EVERYBODY GO HOME. OKAY. 413 00:36:12,203 --> 00:36:14,136 OKAY, LET'S GO. COME ON. 414 00:36:14,205 --> 00:36:16,173 BACK TO YOUR CARS, WE'RE OUT OF HERE. WRAP IT UP. 415 00:36:16,241 --> 00:36:18,324 WRAP IT UP, GUYS. 416 00:36:59,501 --> 00:37:01,951 BLETCH! 417 00:37:04,822 --> 00:37:07,556 WHAT IS IT? 418 00:37:07,625 --> 00:37:09,626 THE DOG. 419 00:37:17,502 --> 00:37:20,622 WANT SOME CANDY, FELLOW? WANT SOME CANDY? 420 00:37:22,274 --> 00:37:24,840 HEY, HEY, HEY. WHAT'S THAT ALL ABOUT? 421 00:37:24,909 --> 00:37:27,209 HEY, WHAT'S UP, BOY? HEY, HERE YA GO. HERE YA GO. 422 00:37:32,150 --> 00:37:34,084 OKAY. 423 00:38:57,885 --> 00:39:00,820 IN THE CLOSET! 424 00:39:20,091 --> 00:39:23,091 FRANK! 425 00:39:37,125 --> 00:39:40,876 - YOU OKAY, FRANK? - YEAH. 426 00:39:48,736 --> 00:39:50,670 I GUESS, UH, 427 00:39:50,738 --> 00:39:53,056 ONE OF US OUGHT TO CALL THE PARAMEDICS. 428 00:39:53,124 --> 00:39:55,207 YOU REMEMBER THE NUMBER? 429 00:39:59,530 --> 00:40:01,447 NOT OFFHAND. 430 00:40:02,517 --> 00:40:04,450 I'LL CALL. 431 00:40:12,627 --> 00:40:16,262 PEDIATRICS, NURSE TURNER, 2395. 432 00:40:16,331 --> 00:40:19,582 PEDIATRICS, NURSE TURNER, 2395. 433 00:40:23,637 --> 00:40:27,573 WARDEN FOR SOCIAL SERVICES, PLEASE COME TO THE NURSES' STATION. 434 00:40:27,641 --> 00:40:30,576 I HEARD THE LITTLE GIRL IS GOING TO A FOSTER HOME. 435 00:40:30,644 --> 00:40:33,812 YEAH. CATHERINE CHECKED IT OUT. 436 00:40:33,882 --> 00:40:36,349 SHE'S KEEPING PROGRESS, MAKING SURE... 437 00:40:36,417 --> 00:40:38,937 PATRICIA'S GONNA GET THE CARE SHE NEEDS. 438 00:40:49,764 --> 00:40:52,432 KIDS. 439 00:40:52,500 --> 00:40:56,152 - THEY SURVIVE. - YEAH. 440 00:40:56,221 --> 00:40:59,672 - THOUGH MONSTROUS EXCEPTIONS. - HMM. 441 00:41:00,975 --> 00:41:05,445 THAT GUY WE CAUGHT, HIS PARENTS SHIPPED HIM OUT. 442 00:41:05,513 --> 00:41:07,580 WATCHED HIS AUNT AND UNCLE... 443 00:41:07,649 --> 00:41:11,117 TORTURED BY SOME FARMHAND. 444 00:41:12,120 --> 00:41:14,320 TRAGEDY BEGETS ITSELF. 445 00:41:14,388 --> 00:41:17,156 TILL THE CIRCLE'S BROKEN. 446 00:41:18,243 --> 00:41:21,026 MAKES YOU WONDER. 447 00:41:21,096 --> 00:41:23,529 KILLERS AREN'T BORN, BLETCH. 448 00:41:36,110 --> 00:41:39,545 THERE'S MY DADDY. 449 00:41:39,614 --> 00:41:41,847 A COUPLE OF ANGELS. WHERE'S MOMMY, JORDAN? 450 00:41:41,916 --> 00:41:45,050 SHE'S STILL BACK OVER THERE. OH. 451 00:41:47,788 --> 00:41:52,408 IT'S OKAY. I'LL PUT THE KIDS IN THE CAR, FRANK. 452 00:41:52,476 --> 00:41:54,911 - GO AHEAD. - LADIES? 453 00:41:59,918 --> 00:42:03,720 THAT'S A NICE TEDDY BEAR. THANKS. 454 00:43:33,628 --> 00:43:36,428 I MADE THIS. 36054

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