The phone is harsh ringing her awake. Such an unnecessary occurrence.
Foggily, she hears various theories of the abduction from Gayle, who suggests an 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's 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 sling.
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 beside a religious-pamphlet-anchored coffee table, Kelly inadvertently obtains what amounts to a forceful alibi for Glasseye at the time of the murder.
Kelly manages a few further mundane queries before rising, professing gratitude to the grandmother, but remains discouraged about her subject's unavailability. 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 sidewalk. She acknowledges the officer and hurries from the porch.
When Mac gets out and approaches she does not remark the strangeness of the circumstances so much as 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 whatever new info is available from the officer.
The officer shakes his head, chews 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.
