Millennium (1996–1999): Season 1, Episode 9 - Wide Open - full transcript

RUN, RUN, RUN, RUN, RUN!

RUN, RUN, RUN, RUN, RUN!

GET OUT OF THE
WAY. THERE'S A CAR.

COME ON. GET OUT OF
OUR GAME. FOR REAL.

SO WHY DON'T YOU TWO TAKE YOUR
TIME AND WALK AROUND, SEE THE HOUSE.

IF YOU HAVE ANY QUESTIONS,
PLEASE DON'T HESITATE TO ASK, OKAY?

THANK YOU. HI. HOW ARE YOU, SIR?

COME ON IN. THERE'S SOME INFORMATION
ON THE TABLE HERE ABOUT THE PROPERTY.

IF I COULD GET YOU TO SIGN
IN, THAT WOULD BE GREAT.

THANKS. THANK YOU.

OVER TO THE RIGHT
IS THE KITCHEN.



WHY DON'T YOU TAKE A LOOK INSIDE?
IT COMES WITH ALL NEW APPLIANCES...

AND AS YOU CAN SEE, YOU REALLY DO
HAVE A LOT OF SPACE TO WORK WITH.

NOW, THIS IS THE SECOND
UPSTAIRS BEDROOM.

THIS FAMILY HAS JUST
THE ONE LITTLE GIRL.

ISN'T IT CHARMING?

OH, YOU HAVE TO SEE
THE MASTER BEDROOM.

THE HARDWOOD FLOORS
ARE ALL ORIGINAL...

SO I THINK WE HAVE
SOME REAL PROSPECTS.

I HAD ONE COUPLE WHO
SEEMED VERY INTERESTED.

NO RUNNING ON THE
STAIRS, HONEY. OKAY, MAMA.

SO I WOULDN'T BE SURPRISED
IF WE GENERATE AN OFFER.

WELL, I THINK THE PRICE
WE'RE ASKING IS REASONABLE.

YOU COMIN' UP? YEAH.

I'M JUST GONNA GO OVER
THOSE FIGURES AGAIN.



GOOD NIGHT, SWEETHEART.
NIGHT, MOMMY.

I LOVE YOU. SLEEP WELL.

JOHN? I'LL BE RIGHT THERE.

JOHN?

MARY KAY? JOHN!

MARY KAY?

MARY KAY?

HI, BOB.

YOU SEE IT ON THE NEWS? YEAH.

JUST CAME DOWN TO
SEE WHAT I DIDN'T SEE.

YOUNG COUPLE BLUDGEONED,
DRAGGED DOWNSTAIRS,

MURDERED WITH AN
ANTIQUE HATCHET.

NO SIGN OF FORCED ENTRY.

NOTHIN' BROKEN.
NOTHIN' RIFLED...

OR STOLEN, EXCEPT...

- THEIR LITTLE GIRL IS MISSING.
- WHAT?

YEAH. THAT WASN'T
ON THE NEWS EITHER.

FIVE-THOUSAND-DOLLAR
ALARM SYSTEM...

SHOULD HAVE SAVED THEMSELVES
THE DOUGH AND GOTTEN A ROTTWEILER.

WHAT WAS THE RESPONSE TIME?

WELL, THE ALARM COMPANY SAID THEY
WERE HERE IN A LITTLE OVER FIVE MINUTES.

WE'RE CHECKIN' THAT OUT.

THE HOUSE WAS FOR SALE.

YEAH. THEY HAD AN
OPEN HOUSE YESTERDAY.

WE'VE GOT THE REAL
ESTATE LADY COMING DOWN.

THE KILLING WAS PREMEDITATED.

THE KILLER MOST PROBABLY
CAME TO THE OPEN HOUSE...

AND HID SOMEPLACE UNTIL
THE FAMILY RETURNED.

HE WOULD HAVE SET THE
ALARM OFF WHEN HE LEFT.

WHAT ABOUT THE LITTLE GIRL?

- I NEED A SCREWDRIVER,
RIGHT NOW.
- YEAH, HERE.

HERE.

- HOLY GOD.
- GET THE E.R.T. GET HIM IN HERE NOW!

NO, NO, NO. NOBODY'S GONNA
HURT YOU, SWEETHEART.

COME HERE. LET ME HELP YOU.

EVERYTHING IS
GONNA BE ALL RIGHT.

EVERYTHING'S GONNA BE ALL RIGHT.

NOBODY'S GOING TO HURT
YOU. WE'RE HERE TO HELP YOU.

HOW IS SHE? ALL INDICATION
IS SHE'S GONNA BE FINE.

HER FLUIDS WERE VERY LOW, BUT THERE'S
NO EVIDENCE OF ANY PHYSICAL HARM...

OTHER THAN EXTREME SHOCK.

IT JUST...

YEAH. I KNOW.

IT'S OKAY. HEY.

EVERYTHING'S OKAY, SWEETHEART.
YOU'RE IN A SAFE PLACE.

NO ONE'S GONNA HURT YOU HERE.

COULD ONE OF YOU GET
THE NURSE? YEAH, SURE.

YOU CAN'T EXPECT TOO
MUCH, BOB. WHAT DO YOU MEAN?

I KNOW YOU'RE GONNA
WANT TO TALK TO HER.

I KNOW YOU'RE GONNA WANT TO KNOW
WHAT SHE SAW. WE HAVE NO OTHER WITNESSES.

WHAT SHE'S BEEN
THROUGH, NO ONE...

CHILD OR ADULT... SHOULD
HAVE TO EXPERIENCE.

IF SHE'S ASKED TO TALK ABOUT IT,
IT'S LIKE ASKING HER TO RELIVE IT.

I DON'T HAVE TO TELL YOU THAT
THIS GUY IS OUT THERE SOMEWHERE.

HE MURDERED THESE PEOPLE
IN COLD BLOOD, CATHERINE.

YOU CAN'T PUSH HER, BOB.

SHE'S GOT TO DO
THIS IN HER OWN TIME...

IF AT ALL.

WE'VE ALREADY GOT A DEPARTMENT
SHRINK ON CALL TO WORK THIS.

I'M ASKING YOU... PLEASE DON'T LET
THE DEPARTMENT MAKE A MISTAKE...

TRYING TO LEAPFROG THIS.

IT'S ALREADY SOMETHING
THAT THIS LITTLE GIRL'S

GONNA HAVE TO LIVE WITH
FOR THE REST OF HER LIFE.

ABRAHAM LINCOLN,
ELVIS AND MUHAMMED ALI...

ALL SIGNED THE GUEST
BOOK AT THE OPEN HOUSE.

IN MY PROFESSIONAL OPINION,
NONE ARE VIABLE SUSPECTS.

WE'LL PUT AN A.P.B. OUT
ON ELVIS JUST IN CASE.

DID YOU FIND ANYTHING
USEFUL? ONE NAME.

IT'S INTERESTING THAT IT
APPEARED TWO WEEKS EARLIER...

- AT THE FIRST OPEN HOUSE
THEY HELD THERE.
- HE WAS CASING.

JOHN ALLWORTH. THE
SIGNATURE, CENTRIFUGAL.

VERTICAL LINES,
FORWARD EXPANSION...

THE STROKES FORCEFUL, MEASURED,

ALTERNATING CURSIVE AND PRINT.

THIS MAN'S SIGNATURE'S PROBABLY BEEN THE
SAME SINCE HE WAS OLD ENOUGH TO SIGN IT.

WHAT DOES THAT TELL YOU?
THAT THE SIGNER IS DELIBERATE.

HE HAS FOCUS.

BUT THAT THIS IS TO CONTAIN
HIS RAGE OR HIS ANGER.

THAT HE CAN BE EXPLOSIVE,
PRONE TO OUTBURSTS OF VIOLENCE.

- NO KIDDING.
- EVEN IF THIS IS THE GUY,

IT'S OBVIOUSLY AN ALIAS.

THE ADDRESS HE LEFT
HAS GOT TO BE A PHONY.

HIGH PROBABILITY,
BUT NOT A CERTAINTY.

IF HE'S NOT JOHN
ALLWORTH, MAYBE IT'S

SOMEBODY HE KNOWS OR
SOMEBODY THAT KNOWS HIM.

THE MAN WE'RE LOOKING
FOR IS A RISK TAKER.

BUT A DELIBERATE
MAN, AS JAMES SAID.

HE LEFT THE CHILD
ALIVE FOR A REASON.

HE SIGNED HIS NAME JOHN
ALLWORTH FOR A REASON.

WE'LL CATCH HIM IF WE CAN
FIND OUT WHAT THAT REASON IS.

MR. ALLWORTH.

HEY, SEE IF THE MANAGER
LIVES IN THE BUILDING.

FAT CHANCE OF THAT.

YES? WHAT?

I'M DETECTIVE GEIBELHOUSE WITH
THE SEATTLE POLICE DEPARTMENT, SIR.

- ARE YOU THE RESIDENT HERE?
- YES.

- DO YOU KNOW YOUR NEIGHBOR,
MR. JOHN ALLWORTH?
- WHO?

JOHN ALLWORTH.
HE LIVES NEXT DOOR.

- HE DOES?
- DO YOU KNOW THE GUY
THAT LIVES RIGHT OVER HERE?

NO. SO, WHAT'S THE BIG DEAL?

WE'RE TRYIN' TO LOCATE MR. JOHN
ALLWORTH, THE MAN WHO LIVES NEXT DOOR.

IT'S PART OF AN INVESTIGATION.

I DON'T KNOW ANYTHING
ABOUT THAT. WELL, THANKS.

THERE WERE 4,900 OPEN HOUSES IN
KING COUNTY OVER THE LAST SIX MONTHS.

GRAPHOLOGICAL ANALYSIS MATCHES
THE PERPETRATOR'S SIGNATURE...

TO AT LEAST 37
SIGN-IN REGISTERS...

USING THE NAME JOHN ALLWORTH,
TRAVIS BICKLE AND RUDYARD HOLMBAST.

"RUDYARD HOLMBAST"?
THAT'S CORRECT.

SO, WHAT? YOU WANT US TO GO
OUT AND KNOCK ON HIS DOOR TOO?

THERE ARE OVER 30 HOUSES HE DIDN'T
CHOOSE FOR ONE REASON OR ANOTHER.

FIND THOSE REASONS,
FIND A PATTERN...

AND YOU MOVE CLOSER TO THE
KILLER, TO WHAT IS GOING ON IN HIS HEAD.

COME ON, FRANK. I MEAN,
WHAT IF IT WAS JUST RANDOM?

WHAT IF... WHAT IF THIS
GUY JUST CHOSE HIS

VICTIMS BECAUSE THEY
WERE THE MOST CONVENIENT?

THEN THAT WILL TELL US
SOMETHING ABOUT HIM TOO.

I THINK WE'RE WASTIN' OUR
TIME WITH THIS APPROACH, FRANK.

YOU DON'T HAVE MUCH
ELSE TO GO ON AT THIS POINT.

WE'VE GOT THE LITTLE GIRL.

DR. LEVINSON, METABOLIC UNIT.
DR. LEVINSON, METABOLIC UNIT.

THAT'S VERY GOOD, PATRICIA.

IS THAT A FACE IN THERE?

KIND OF HID IT IN
THERE, DIDN'T YOU?

THAT'S VERY CLEVER OF YOU.

YOU WANT TO SEE
WHAT I BROUGHT YOU?

IT'S FOR YOUR HAIR.

IT'S FROM A GIRL WHO'S
ALMOST THE SAME AGE AS YOU.

HER NAME'S JORDAN, AND
WHEN I TOLD HER ABOUT YOU,

SHE ASKED ME IF
YOUR HAIR WAS PRETTY.

AND I TOLD HER IT WAS LONG
AND STRAIGHT AND BEAUTIFUL.

AND SHE WAS SO
JEALOUS, BECAUSE...

SHE HAS CURLY HAIR, AND
SHE WANTS IT TO BE STRAIGHT.

I BET YOU WANT
CURLY HAIR, DON'T YOU?

CAN I PUT THIS IN
YOUR HAIR, PATRICIA?

OH, THAT'S VERY PRETTY.

I WANT TO GO HOME.

I KNOW YOU DO. I'M SORRY,

BUT YOU HAVE TO STAY HERE.

IT'S JUST BECAUSE EVERYBODY
WANTS YOU TO BE SAFE, OKAY?

I THINK WE SHOULD DO
SOME MORE CRAYONS.

I'M GONNA DRAW A PICTURE OF A
PRETTY LITTLE GIRL WITH A PINK BOW.

WHAT ABOUT YOU?

WHAT ARE WE GONNA FIND
THAT AN ARMY OF TECHS MISSED?

MAYBE NOTHING.

LOOKS LIKE THE KILLER
COULD HAVE TAKEN SOMETHING.

- A V.C.R.?
- COULD BE.

THAT'S CAT BURGLAR STUFF, FRANK.

MAYBE NOT.

- IT'S EMPTY.
- YEAH.

PLEASE. LET HER GO! MY BABY!

PLEASE, LET HER GO! MY BABY!

MARY KAY!

PLEASE, LET HER GO! MY BABY!

MARY KAY!

NO, I'M SORRY. SHE'S NOT IN RIGHT
NOW. WOULD YOU LIKE HER VOICE MAIL?

HI! HOW ARE YOU TODAY?
HEY, HOW YA DOIN'?

I THINK I'M PRETTY
GOOD. I'M GETTING BETTER.

CAN'T BEAT THAT WITH A STICK,
HUH? THANKS. YOU HAVE A GOOD DAY.

THANKS. SEE YOU TOMORROW.

YOU CAN TAKE ANYTHING YOU WANT!

WHAT DO YOU WANT?

MY BABY! PLEASE, LET HER GO!

PLEASE, LET HER GO! MY BABY!

WHY SEND IT TO THE REALTOR?
TO TERRIFY HER, POSSIBLY.

OR TO PUNISH HER, AS
HE PUNISHED THE FAMILY...

FOR SOME TWISTED
IMAGINARY CRIME.

THE CLOCK IS TICKING, ISN'T IT?

YES.

- WORD'S GONNA GET OUT.
- THAT MIGHT BE WHAT HE WANTS,
BLETCH.

AND WHATEVER YOU CAN DO
NOT TO GIVE HIM WHAT HE WANTS,

THE BETTER CHANCE YOU HAVE OF
DRAWING HIM INTO THE OPEN, CATCHING HIM.

YOU AND ME, UH,

WE KEEP BEATING AROUND THE
BUSH ABOUT THIS LITTLE GIRL.

CAN'T DO IT, BOB.

HI, THERE. HOW ARE YOU?

HI, THERE. HOW ARE YOU?

HI, THERE. HOW ARE YOU?

HI, THERE. HOW ARE YOU?

FINE. HOW ARE YOU?

GOOD. GOOD. COME ON IN.

WE HAVE WINE AND
CHEESE, IF YOU'D LIKE.

PLEASE FEEL FREE TO LOOK AROUND.

I WAS HOPING YOU
MIGHT, YOU KNOW,

GIVE ME THE TOUR. OH, CERTAINLY.

BY ALL MEANS. WHY DON'T
WE START WITH THE UPSTAIRS?

CAN I ASK YOU FIRST,

THIS HOUSE HAS AN
ALARM SYSTEM, DOESN'T IT?

OH, A VERY SOPHISTICATED
SYSTEM, THE VERY BEST.

YOU SEE THAT MOTION
DETECTOR THERE?

THOSE ARE INSTALLED IN
EVERY ROOM IN THE HOUSE.

IF YOU HAVE VALUABLE ARTWORK
OR ANYTHING YOU WANT TO PROTECT,

THE SYSTEM USES A WIRELESS LINK
TO A PRIVATE HOME SECURITY COMPANY.

CAN YOU DEMONSTRATE
IT FOR ME? SURE.

IF I CAN REMEMBER HOW.

- GET THE CODE?
- YEAH, I GOT IT.

STATE-OF-THE-ART ALARM SYSTEM, THE
SON OF A BITCH WALKED RIGHT PAST IT.

HOW? I DON'T KNOW.

IT WASN'T EVEN
SET OFF THIS TIME.

MY GUYS TRIPPED IT WHEN
THEY GOT THE 911 CALL.

YOU GOT A 911 CALL?
YEAH. REPORT OF A BREAK-IN.

YOU HEAR IT? NO, NOT YET. WHY?

CHANCES ARE YOU GOT A
RECORDING OF THE KILLER'S VOICE.

GONNA NEED ANOTHER UNIFORM
TO HELP WITH THE CANVASS.

WANT ME TO CALL IN FOR THAT?

YOU MIGHT WANT TO RUN THIS KEYPAD
FOR PRINTS. YEAH. HOLD ON A SEC.

YOU THINK HE KNEW
THE ALARM CODE?

UNLESS THE SYSTEM
WASN'T ACTIVATED.

THE WOMAN DIED WITH THE
PANIC SWITCH IN HER HAND.

HE SHOT HER POINT-BLANK
WITH A 12-GAUGE, FRANK.

IT COULD HAVE BEEN STAGED,
BLETCH. PROBABLY WAS.

SO HE, UH, KILLS HER,
THEN HE CALLS 911.

THE VICTIM'S DIVORCED. THERE'S
NO CHILDREN LIVING AT HOME.

WE HAVE A WHOLE NEW
PATTERN HERE, FRANK.

DID YOU FIND THE MURDER
WEAPON? NO, NOT YET.

HE TAKES CHANCES, BUT EVERYTHING'S
CONSIDERED, AS IF SCRIPTED, PLANNED...

WHAT TO LEAVE, WHAT TO
TAKE, WHAT HE WANTS US TO SEE,

WHAT HE WANTS OTHERS TO SEE.

HE'S LEAVING A
RECORD OF THE EVENTS...

VIDEOS, 911 CALLS, WITNESSES.

DR. RUBIN, PSYCHIATRIC UNIT.
DR. RUBIN, PSYCHIATRIC UNIT.

WHAT ARE YOU MAKING
THERE, PATRICIA? WHAT IS THAT?

I DON'T KNOW WHAT THAT IS.

ARE THESE CHILDREN HERE?

ARE THEY YOUR FRIENDS?

I BET YOUR FRIENDS ARE GONNA
BE SO HAPPY WHEN THEY SEE YOU.

I WANT MY MOMMY AND MY DADDY.

WHAT DO YOU WANT?

- PLEASE, LET HER GO!
- MY BABY!

PLEASE, LET HER GO! MY BABY!

MARY KATE!

- HELLO?
- FRANK, IT'S BOB.

JUST GOT OFF THE PHONE
WITH ONE OF OUR BUNCO GUYS.

THAT VIDEO CAMERA THAT WAS
STOLEN FROM THE CRIME SCENE?

YEAH? IT TURNED UP IN A
PAWNSHOP IN BELLINGHAM.

WE'VE GOT THE OWNER DOWNTOWN RIGHT
NOW WORKING WITH OUR IDENTIKIT ARTIST.

- I MAY BE ABLE TO HELP
YOU OUT THERE, BLETCH.
- WHAT DO YOU MEAN?

I JUST PULLED SOMETHING
OFF THE VIDEOTAPE.

THE MILLENNIUM GROUP HAS SOMEONE
THAT CAN PROBABLY CLEAN IT UP FOR US.

WE MAY HAVE A PORTRAIT. A FACE?

YEAH.

YOU STILL ADAMANT ABOUT NOT SHOWING
ANYTHING TO THE LITTLE GIRL, FRANK?

FRANK?

I'M CONSIDERING IT, BOB.

HI, BENNY!

DADDY'S HOME! HEY,
PUMPKIN PIE! HOW ARE YOU?

GOOD. HOW WAS YOUR DAY?

GOOD. YEAH? YOU WANT
TO TELL ME ABOUT IT?

SURE. FIRST, WE'RE GONNA
GO UPSTAIRS AND TAKE A BATH...

AND GET THOSE LITTLE PIGGIES
OF HERS ALL CLEANED UP.

LITTLE PIGGIES? HOW'D THOSE LITTLE
PIGGIES GET SO DIRTY? AT SCHOOL.

I'LL BE UP IN A
LITTLE BIT. OKAY.

- HI.
- HI.

GOT SOMETHING TO SHOW YOU.

JORDAN'S? NO,
THEY'RE PATRICIA'S.

I DROPPED JORDAN AT DAY CARE AND
SPENT MOST OF THE MORNING WITH HER.

DID YOU TALK TO HER ABOUT THESE?

AS MUCH AS I COULD. SHE STARTED
ASKING ABOUT HER PARENTS.

I THINK THEY'RE
SIGNIFICANT THOUGH, FRANK.

THEY ARE.

WE FOUND THAT THE MAN WE'RE
LOOKING FOR LEFT A RED "X"...

JUST LIKE THESE AT THE
SECOND CRIME SCENE.

HOW WOULD PATRICIA
KNOW? I DON'T KNOW.

MAYBE IT WAS SOMETHING
HE WAS WEARING.

WE'VE MADE SOME PROGRESS TOO.

IT'S A PICTURE TO WORK
WITH, AN IMAGE TO WORK FROM.

YOU WANT MY PERMISSION. I DO.

I DON'T THINK THEY'RE
GOING TO BE AS COURTEOUS.

I CAN'T STOP THEM, FRANK.
BUT MY FEELINGS ARE THE SAME.

WHAT IF YOU SHOWED IT TO HER?

WHAT IS SHE GONNA SAY?
MAYBE SHE KNOWS HIM.

MAYBE IT'S A NEIGHBOR.

SOMEONE THE FAMILY
COMES INTO CONTACT WITH.

I'LL DO IT, FRANK, IF YOU
THINK IT'S THE ONLY WAY.

NO.

- THAT'S WHAT HE WANTS.
- WHAT ARE YOU TALKING ABOUT?

THAT'S WHAT HE'S
WANTED ALL ALONG,

FOR US TO USE THE CHILD.

IT'S SO CLEAR FROM THE CLUES...

THE VIDEO, THE AUDIOTAPE...

BRINGING THOSE TO HER
WOULD BE AN OBVIOUS TACK.

HE WANTS HER TO RELIVE IT.

PROBABLY SOMETHING
HE'S RELIVED ALL HIS LIFE.

BLETCHER. YEAH, BOB, IT'S
ME. I WANT TO TALK TO YOU.

I WANT TO TALK TO YOUR MEN. I DON'T WANT
ANYBODY GOIN' DOWN TO SEE THAT LITTLE GIRL.

CAN I HAVE YOUR PROMISE ON
THAT? WHY, FRANK? SHE'S THE KEY.

YEAH, I KNOW SHE'S THE KEY,

JUST NOT THE WAY WE THOUGHT.

WHAT HAVE YOU GOT? SHOTGUN
DUMPED IN THE GARBAGE.

TWELVE-GAUGE... SPECKS OF
BLOOD ON THE STOCK AND BARREL.

WHO FOUND IT? A GROUP
OF SCHOOLKIDS OVER THERE.

IT WAS CALLED IN BY
THAT CROSSING GUARD.

EXCUSE ME, SIR. CAN
I SPEAK WITH YOU?

YES, OF COURSE.

RIGHT AFTER I HELP
THE KIDS TO SAFETY.

- GO! GO! GO! GO! GO! GO!
- GO-GO-GO-GO-GO-GO-GO-GO!

GO, GO, GO!

- CALL IT OUT! CALL IT OUT!
- BEDROOM'S CLEAR!

HEY, GET THIS CLEAR! ALL RIGHT,
LET'S GET THE TECH GUYS IN HERE.

TURN THIS PLACE INSIDE
OUT. NO ONE'S HERE.

I WANT ALL THESE VIDEOCASSETTES CATALOGUED
AND PACKED OFF TO MY OFFICE A.S.A.P.

YOU THINK HE'S LONG
GONE? NOT THE CITY.

HE LEFT US THE SHOTGUN TO
LEAD US TO HIS APARTMENT...

TO PROVE WE COULDN'T FIND HIM.

DAMN.

TWO HOURS EARLIER, THE OFFICER THAT TOOK
HIS REPORT WOULD HAVE SEEN HIS PICTURE.

- HE'S RUNNING NOW.
- WHERE?

TO GLOAT, TO FIGURE
OUT HIS NEXT MOVE,

TO SHOW US HOW CLEVER HE IS.

I DON'T CARE HOW CLEVER HE IS.

WE PUT HIS PICTURE IN THE
PAPER, THIS GUY WON'T BE ABLE...

TO CROSS THE STREET
WITHOUT STARTIN' A PARADE.

YOU MAKE HIM TOO FAMOUS AND HE'S
GONNA DISAPPEAR ON US ALTOGETHER.

THEN WHAT? YOU'VE GOT
FIVE DAYS TILL SATURDAY.

FIVE DAYS TO ANTICIPATE
HOW HE'LL UP THE ANTE.

YOU THINK HE'S GOT THE
EGGS TO HIT ANOTHER FAMILY?

HE'S TEACHING US A LESSON,
ABOUT OUR PRETENSIONS TO SAFETY,

ABOUT HOW VULNERABLE WE ARE.

AND THE GUY'S WORKING AS A
CROSSING GUARD, FOR GOD'S SAKE.

HE WANTED THAT LITTLE GIRL
TO RELIVE HIS NIGHTMARES.

HOW DO YOU INCREASE THE STAKES?

BY MAKING US ALL RELIVE IT.

I COULDN'T FIND YOU.

SORRY, I NEEDED SOME AIR.

SHARE SOME AIR WITH ME?

PRETTY CHEEKY,
AREN'T YOU? THAT'S ME.

YOU THINKING? YEAH.

THINKIN' ABOUT MY
PARENTS, MY GRANDPARENTS.

FORTY OR 50 YEARS AGO,

THEY NEVER LOCKED
THEIR DOORS DAY OR NIGHT.

WE SEEM TO HAVE
ACCEPTED IT SO...

GRACEFULLY, SO NATURALLY.

THE SECURITY SYSTEMS...

WE'VE ALLOWED OURSELVES TO BECOME
ALMOST BESIEGED BY OUR OWN FEAR.

IF YOU'RE NOT AFRAID,
YOU'RE LIVING IN DENIAL.

THE WORLD'S
CHANGED. YEAH, I KNOW.

YOU CAN'T TURN IT BACK.

BUT WE WONDER... WHERE
ARE WE HEADED FROM HERE?

MMM.

HI. WELCOME TO IVY MEADOWS.

I'LL GIVE YOU ONE
OF OUR BROCHURES,

AND SHALL WE START
IN THE KITCHEN?

RIGHT THIS WAY. WE HAVE, UH,

STATE-OF-THE-ART
EQUIPMENT IN HERE AND, UH...

NOTHIN' BOSS. JUST LOOKY-LOOS.

MAKE YOURSELF AT HOME,
PAL. IT COULD BE A LONG DAY.

BE REAL EASY, LET ME TELL YOU.

HAVE ANY OF THE OTHER
HOUSES CHECKED IN? NO.

EITHER HE GOT A WHIFF OF
US, OR HE BEAT IT OUT OF TOWN.

I REALLY DON'T THINK THIS
IS GONNA HAPPEN, FRANK.

ENTRYWAY. WHITE
MALE. TALL. GLASSES.

OUR GUY?

I CAN'T TELL FOR SURE.

- GIVE HIM LOTS OF SPACE.
- YEAH, DON'T CROWD HIM.

YEP. HELLO, SIR.
WELCOME TO IVY MEADOWS.

MAY I ASK YOU A FEW
QUESTIONS? CERTAINLY.

IS THIS THE MODEL
UNIT? YES, IT IS.

BUT THE CONTRACTOR AND HIS
FAMILY ARE LIVING HERE CURRENTLY.

OH. IT HARDLY
SEEMS LIVED IN AT ALL.

IF IT IS HIM. HE'S
HEADING RIGHT TO YOU.

IS THIS HOW YOU GET TO THE
GARAGE? YES, STRAIGHT AHEAD.

JUST ADJACENT TO
THE WASHROOM THERE.

THE OWNERS LOCKED THEIR CAT
IN. I DON'T HAVE A KEY. I'M SORRY.

THAT'S OKAY. I'D LIKE
TO SEE THE UPSTAIRS.

RIGHT THIS WAY.

YOU'LL LOVE THE UPSTAIRS.

THE MASTER BEDROOM IS
JUST TO DIE FOR. YOU'VE GOT...

TWIN SINKS AND A WHIRLPOOL BATH,

LARGE WALK-IN CLOSETS
IN ALL THE ROOMS, AND...

AND A GORGEOUS VIEW
FROM THE MASTER BEDROOM.

- OLLY OLLY OXEN. HE'S GOIN' UPSTAIRS.
- LET'S GO.

WHERE'S THE GUY THAT WAS WITH
YOU? HE'S USING THE BATHROOM.

CHECK THE BEDROOMS.
ALL THE CLOSETS. HE'S GONE.

YEAH, WE'RE ABOUT
FINISHED UP HERE.

WERE YOU ABLE TO
FIND A VEHICLE? NO, NO.

WE DIDN'T FIND A VEHICLE.

HE MAY HAVE ARRIVED ON FOOT,
THE SAME WAY HE LEFT. ROGER THAT.

ARE WE GONNA BE ABLE
TO REACH YOU? YEAH.

I'LL BE ON A RADIO IF YOU
NEED ME. GOOD. OVER.

OUT.

THIS GUY BOOKED IT,
FRANK. I DON'T THINK SO.

WE'VE BEEN LOOKIN' FOR
FIVE-AND-A-HALF HOURS, FRANK.

I'M TELLIN' YA. HE'S
GONE WITH THE WIND.

HE'S HERE. I JUST KNOW IT.

GET THE BLUE-AND-WHITES OUT
OF HERE. CLEAR EVERYBODY OUT.

THEN YOU AND I GO FOR A WALK.

GEIBELHOUSE? YEAH.

LET EVERYBODY GO HOME. OKAY.

OKAY, LET'S GO. COME ON.

BACK TO YOUR CARS, WE'RE
OUT OF HERE. WRAP IT UP.

WRAP IT UP, GUYS.

BLETCH!

WHAT IS IT?

THE DOG.

WANT SOME CANDY,
FELLOW? WANT SOME CANDY?

HEY, HEY, HEY. WHAT'S
THAT ALL ABOUT?

HEY, WHAT'S UP, BOY? HEY,
HERE YA GO. HERE YA GO.

OKAY.

IN THE CLOSET!

FRANK!

- YOU OKAY, FRANK?
- YEAH.

I GUESS, UH,

ONE OF US OUGHT TO
CALL THE PARAMEDICS.

YOU REMEMBER THE NUMBER?

NOT OFFHAND.

I'LL CALL.

PEDIATRICS, NURSE TURNER, 2395.

PEDIATRICS, NURSE TURNER, 2395.

WARDEN FOR SOCIAL SERVICES,
PLEASE COME TO THE NURSES' STATION.

I HEARD THE LITTLE GIRL IS
GOING TO A FOSTER HOME.

YEAH. CATHERINE CHECKED IT OUT.

SHE'S KEEPING
PROGRESS, MAKING SURE...

PATRICIA'S GONNA GET
THE CARE SHE NEEDS.

KIDS.

- THEY SURVIVE.
- YEAH.

- THOUGH MONSTROUS EXCEPTIONS.
- HMM.

THAT GUY WE CAUGHT, HIS
PARENTS SHIPPED HIM OUT.

WATCHED HIS AUNT AND UNCLE...

TORTURED BY SOME FARMHAND.

TRAGEDY BEGETS ITSELF.

TILL THE CIRCLE'S BROKEN.

MAKES YOU WONDER.

KILLERS AREN'T BORN, BLETCH.

THERE'S MY DADDY.

A COUPLE OF ANGELS.
WHERE'S MOMMY, JORDAN?

SHE'S STILL BACK OVER THERE. OH.

IT'S OKAY. I'LL PUT THE
KIDS IN THE CAR, FRANK.

- GO AHEAD.
- LADIES?

THAT'S A NICE
TEDDY BEAR. THANKS.

I MADE THIS.