The phone is harsh ringing her awake. Such an unnecessary occurrence.

Foggily, she hears various theories of the abduction from Gayle, who is suggesting she try the angle from the recent series on people who have been helped by Sarah. Kelly is being dispatched to find Glasseye.

She rises, applying makeup in the ultra-fast way she has learned, having once taken a course. She already has the crew upon on the sagging rough-boarded porch when she learns (no surprise) Glasseye is not at home. But the grandmother is animated and anxious to be interviewed, her arm still in the cast.

Kelly directs the stage, re-arranging photographs on the television set in the small living room. The first few takes are spoiled by a thread of incoherence on the grandmother's part. Finally with both of them sitting down quartered to each other by a rectangular religious-pamphlet-laden coffee table Kelly obtains what amounts to an unsolicited and almost forceful alibi for Glasseye at the time of the murder.

Kelly manages a few further mundane queries before leaving, professing gratitude to the grandmother, but is discouraged. She stands in conference with the camera crew, trying to recall the name of the wino Sarah found in the Salvation Army trash dumpster and converted, when a cruiser pulls up along the street. She waves once at the officer and leaves the porch.

When Mac gets out of the cruiser and approaches her she does not remark the strangeness of the circumstances, just the typical nuisance of his appearance.

"Hi," he says. "Listen, I--"

"Hey, Mac," she leans into the lowered driver window. Mac says "I got something for you. I told them you're the only one I'd tell it to---" She smiles impatiently at him, intent upon getting whatever new info is available from the officer.

The officer shakes his head, chewing gum, and indicates Mac. It is some time before she realizes they are trying to tell her Mac was the one who located the body.