03x19 - Night

[bunniefuu]

We're going to talk until we work

through our problems, and we can do it.

I know we can. I'm sure of it.

- Richard, I'm sorry. - I'm sorry too.

But you're not going home.

Get out of my house.

I'm not going anywhere without Laura and Jason.

- They'll listen to me. - You must be nice.

You let go of my arm.

- Yeah, call the police. - No!

Karen, look, he doesn't want us there.

All he wants is Laura.

That's why he's got a g*n.

It's to keep her there and to keep us out.

- We're closing it up. - You can't do that.

Joe, they know what they're doing.

[insect chirping]

[theme music]

[instrumental music]

[insects chirping]

[Richard] 'You know the worst thing about dating?'

[Val] 'Picking up the check?'

[Richard chuckles]

'Oh, isn't this the wrong driveway?'

[Richard] 'Oh, sorry. Force of habit.'

'Not only picking up the check'

'hearing yourself talk, running through the same'

'tired repertoire of stories, jokes, personal history.'

'Last week, I took out three girls.'

[Val] 'Three? Together? Ooh, that sounds like fun.'

[Richard] 'Would have saved me repeating myself.'

'By the time the third one asked me where I was born'

'I was so bored, I told her to bet.'

[Val chuckles]

[Val] 'Well, I wouldn't complain.'

'You single men are a vanishing breed.'

[Richard] Oh, yeah? Tell me about it.

[car door closes]

The ones I like all turn out to be married, g*y or both.

Well, it looks like you lucked out tonight.

- Well, I'm glad you called me. - So am I.

Um, thank you, Richard.

It was lovely. Wonderful dinner.

Oh, aren't you going to invite me in for a nightcap?

- Well, it's late. - Not that late.

One more splash, then I will go quietly, promise.

I'm tired. I want to go to bed.

Sounds good to me.

Alone.

Not like the old days, huh?

Remember the hot tub?

- I'm not sure. - Half a splash.

Here, take the bottle. Just drink it at home.

Hey, hey, they're playing our song.

- We don't have a song. - Sure we do.

"Ever lovers, never friends."

No, that's "Never lovers, ever friends."

- Come on, one dance. - I don't want to dance.

One dance. Then I'll go quietly.

Promise, I promise.

♪ This is how the story ends ♪

♪ Ever lovers never friends ♪

Come on.

Oh, the neck, not the ear, right?

Little bite.

Richard. Come on, cut it out.

[mumbling]

Hey, stop, Richard!

Stop it! This is not funny.

- You serious? - You damn right, I'm serious.

- What did you expect? - What did you expect?

I'm alone. You're alone?

What do you think? I asked you out to have.

To have dinner and to talk.

$140 to talk?

I'm real sorry I wasted your time.

You could have gotten a hooker for a lot less.

How much do you charge?

[gasps]

[door opens]

[door closes]

[door opens]

[door closes]

[indistinct singing on stereo]

[paper rustling]

Have you got the, uh, the cotton ba*ls

and the swabs and the-and the bottle liners and the diapers?

Everything is in the yellow bag.

I hope so.

- You think she's warm enough? - Yes.

I mean, for the plane.

Honey, I think the plane is heated.

Hope, you're right.

[engine rumbling]

Where are you going?

Oh, San Francisco, Ginger singing

in a little club in Berkeley.

Oh, that's great.

It's just one night, but it's a start.

- Break a leg. - Hey, don't say that.

[engine rumbling]

h*-honey, did you turn off the light under the coffee?

Yes, everything's off.

Uh, don't you take Jason every other weekend?

Well, it's sort of an informal arrangement.

Move over, Adam.

What's the problem, Mrs. Noonan?

Well, it's just that I'm responsible for these children.

And your wife didn't say that you were picking Jason up.

- Well.. - Move over, I said.

- No way, Jose. - Move over--

Mrs. Noonan, would you call it irresponsible?

- Mommy, I don't want. - Let me.

She can wait.

That's enough, settle it quietly between yourselves.

Look, this is Noonan. I can understand your concern.

If you want, why don't you call Laura on the phone

and-and-and ask her yourself?

- I don't mind. - It's okay, Mrs. Noonan.

I'm staying here.

Well, I, I guess it is.

- Have a good time. - Thank you.

Come on, Jason. This your bag?

Let's go.

Now, stop it. You two, over there.

No.

We gotta go in a few minutes. Now, stop it!

[door opens]

[birds chirping]

[door closes]

Wow.

Well?

Can I..

Can I work it?

Yeah, it's all set up.

Just turn on the transformer. I'll be with you in a second.

[phone ringing]

Yeah?

Oh, hi. Uh..

Didn't, Mrs. Noonan--

I'm sorry.

Why don't you come over here?

I-I've got some papers here to look at.

What?

'Come over here, Laura.'

'I mean, what's the big deal?'

What? Oh, I bought him some trains.

Why can't you come? You have a date or something?

[Richard] 'Uh, alright.'

'Okay.'

Great. See you soon.

I'll show you how to switch tracks.

Hey, watch. Watch this one here, okay?

- 'Another piece?' - 'Mm-hmm.'

Where did you learn to make quiche?

- From a book. - Hm.

And even watercress salad. Quiche Lorraine.

You should open up a restaurant.

That'd be a wine and cheese bar.

Or a chain of specialty food shops.

I know about food.

I've always wanted to do something about it.

'When I can be more specific'

you might help me find a location.

I'd be glad to.

Maybe we could go partners.

I'm finished.

You want to go in the living room, play with your trains?

Sure.

Bye.

I thought you said you had some papers for me to sign, huh?

What's this?

[rattling]

- Mm? - Open it.

Does not look like papers to me.

Don't you like it?

Like it?

I mean, if it's the wrong color or something.

Uh, here. Uh, stand up.

Try it on.

[thudding]

Don't you even want to try it on?

Richard, I'm not coming back.

Three months, on your terms.

You set the conditions. If it doesn't work out

okay, then at least we'll have tried.

We have tried. We tried for 12 years.

Not with you calling the shots.

I don't want to call the shots.

How do you know?

Laura, look, I want to make you happy

but-but you got to tell me how.

You know how you can make me happy?

- Just let go. - I can't do that.

But you've got to get on with your own life, Richard.

Because my life does not include you anymore.

Every time that baby kicks it includes me.

You don't break a bond like that by walking out

and slamming the door.

I can't live with you.

See, we're not so caught up with each other anymore

so we can discuss this reasonably

dispassionately and work things out.

I don't want to work things out.

'We're going to talk.'

We never really did that before

so we're going to do it now.

If it takes all night and all day tomorrow

and tomorrow night, we're going to talk

until we work through our problems and we can do it.

I know we can. I'm sure of it.

Richard, I'm sorry.

I'm sorry too, but you're not going home.

This little piggy went to market.

This little piggy stayed at home.

This little piggy had roast beef.

But this little piggy had none.

And this little piggy went..

Michael.

I'm sorry, but this is so dumb.

It is not dumb. It's beautiful.

It's Dylan Thomas.

This little piggy went to market.

[Karen] 'It's in the play.'

If you don't want to participate, just go upstairs.

But no television.

[chuckles] "Oui, oui, oui, oui, oui."

"All the way home."

"Waldo! Waldo!"

"Yes, love."

"What will the neighbors say?

"What will the neighbors say?"

"Poor Mrs. Waldo."

"What she puts up with?"

"Never should have married."

- "If she didn't had to." - "Same as her mother."

"There's a husband for you."

"That is his father."

- "You know where he ended?" - "Up in the asylum."

"Crying for his mom."

[people clamoring]

Michael, that's you.

I hear some yelling.

Listen.

[clamoring continues]

It's sounds like it's coming from the Avery's.

Well, there's no one there but Richard and Jason.

No, Laura is there too.

I saw her car when I came home.

[Richard] 'I-I mean, we're going to have another baby.'

'You mean, listen to a hell of a time for you to decide.'

Hey, hey!

We're not invading Afghanistan.

Just go on with your reading. I'll be back in a minute.

Alright, I'll go with you.

Eric, you read my parts.

Who are you playing?

The Waldo, the preacher and the first voice.

[door closes]

You know, I think we ought to do this more often.

It's good for the soul.

Well, I never knew poetry could be so funny.

[chuckles] You can say that again.

I can't make out what they're saying.

Would it make any difference?

Well, what are we going to do?

Hey, what's going on?

[Val] 'Really going at it, aren't they?'

- I'm going in there. - Uh, do that.

- Why not? - It's a family argument.

- None of our business. - Jason's in there.

They shouldn't argue like that in front of him.

- I'll go with you. - Oh, honey, Joe's right.

It's none of our business.

- 'No way to have a life.' - 'My way or your way.'

[Richard] 'It has to have to do with talking things through..'

Richard, we've been through this a million times.

Look. You can scream your lungs out. That's my decision.

And that's what we're going to do.

The hell we are, I'm not discussing

anything under these conditions.

Now, get out of my way.

- Look, just sit down. - Richard.

[Laura] 'Get out of my way!'

- Richard! - Karen!

If you say one word, I'm going to have to hurt you.

You understand?

Laura.

[door knocks]

[Karen] 'Richard?'

Laura's going upstairs. What do you want, Karen?

Wh-what's going on in there?

We can hear you all over the neighborhood.

What does it sound like? We're having a fight.

It sounds like you're k*lling each other.

No one's hurt, I'm sorry if we disturbed you.

Richard!

Can I come in for a minute?

I'd rather you didn't. I-I'll see you tomorrow.

Okay.

[Richard] 'Goodbye, Karen.'

[dog barking in distance]

Uh, why don't you go upstairs now, Jason?

We'll play with the trains in the morning.

You're not going home, are you, mom?

No, sweetie. I'm going to stay here.

[phone rings]

Don't answer the phone.

- Nobody's answering? - No.

Say, Laura called to you

and then Richard said she'd gone upstairs.

- Yeah. - But you never..

- ...spoke to her after that? - No.

Quiet as the grave over there now.

You didn't go to the house, did you, mama?

No, I just listened on my way back here.

I'm going to take a closer look.

Oh, Gary, maybe you're right.

Maybe we should just leave him alone.

No, I just want to make sure Laura's alright, huh?

Why don't you keep calling, okay?

Gary, you be careful.

[water gurgling]

[phone dialing]

People do crazy things for love.

[phone rings]

I-I want us to work things out so we can be a family again

particularly now with the new baby on the way.

You'd like that, wouldn't you?

I would, but mom doesn't want to live here anymore.

That's why we have to talk.

[birds chirping]

[line ringing]

It's, uh.. It's not going to be easy.

There may be a lot of yelling

but I don't want you to be scared

because your mom and I love each other very much.

And when this is all over

we're going to love each other even more.

I, uh..

I want you to promise me.

Not to leave this room until I tell you.

Will you promise me that?

I want to hear you say it.

- I promise. - Good boy.

[cutlery clanking]

- Richard? - No, it's Laura.

Laura, are you alright?

[Richard] 'Everything's fine, Karen.'

'We just want to be left alone.'

[Karen] 'Laura, are you okay?'

Yeah, I'm-I'm okay.

Richard, are you still there?

[phone hangs]

[sobbing]

Laura, what..

It's alright. It's alright.

[water gurgling]

He's crazy. He won't let us out of here.

He's-but he's bought Jason all his trains.

They're just trains all over the living room

and engines and switches and bridges.

There must be thousands of dollars..

- ...worth of trains in there. - Slow down, slow down.

- It's alright. - No, you don't understand.

You don't understand.

He won't let us leave. He won't let us go.

Where is he?

He's upstairs with Jason. Jason is terrified.

- He grabbed me when Karen-- - I'm gonna talk.

But he's not rational.

I'm telling you, he's determined.

Uh, Richard?

- Richard, you up there? - 'No.'

Uh, can we talk?

[Richard] 'Go home, Gary.'

Uh, Laura says you won't let her out of here.

Is that true?

'Stay out of it, Gary. It's none of your business.'

Look, you coming down here?

Okay, I'll come up.

Get out of my house.

I'm not going anywhere without Laura and Jason.

Right now.

Look, Richard, I don't want to have to hurt you.

Oh.

Richard!

You go home, Gary, please.

Is that thing loaded?

You better do as he says, Gary.

You're being very stupid, Richard.

Gary.

[mellow music]

[door opens]

[door closes]

Lock it.

g*n? Where'd he get it g*n?

- What, are you kidding? - Are you sure it was real?

Yes.

There's only one way to verify that.

Well, that doesn't make sense.

I mean, that doesn't sound like Richard.

Richard's not like Richard, and I'm calling the police.

No, no, I'm going to try to talk to him.

Karen, you already did that.

I'm going to talk to him again.

No, but he won't answer the phone.

- I'm gonna go-- - What's going on?

Richard has got a g*n and she's--

A g*n? Call the police.

Nobody's calling the police.

- Where are you going? - I'm going to talk to Richard.

I know him, he'll listen to me.

- You must be nice. - You let go of my arm.

- No, call the police. - No!

Karen, look, he doesn't want us there.

All he wants is Laura. That's why he's got a g*n.

It's to keep her there and to keep us out.

[indistinct radio chatter]

[insects chirping]

[indistinct radio chatter]

[female #1] 'Officer, secure the area.'

[engine rumbling]

This your house, with a spare gate next to it?

Yes, it is. Uh, look, Lieutenant.

- Um, captain. - Captain.

Is anyone in that house over there?

Abby Cunningham, but she's at my place.

- Okay, you have children? - Yes, three.

Uh, captain--

You can send your kids to the night, right?

- Look, um.. - Sergeant.

I'm gonna be in the Fairgate house that one there.

[indistinct radio chatter]

Then I set up a command post at your house, if you don't mind.

I do mind.

Look, I'd like to think we're both on the same side.

Well, we're not.

You see, I didn't call you. You're not helping.

You're just aggravating the situation.

That's why we're here.

Is that the pressure that wears them down.

Look, they see what they're up against.

They see how serious it is. They usually give up.

They is my neighbor, my friend--

Who has locked himself in his house with his pregnant wife.

- His child and a loaded g*n. - You don't know it's loaded.

I have to assume it is.

Look at all these police. I don't believe it.

This is absurd. He's not going to sh**t anybody.

The next thing you know, you'll be..

You'll be calling in a SWAT team.

I already did.

[insects chirping]

[indistinct chatter on radio]

[door closes]

[indistinct radio chatter]

What do you want me to do with this?

Everything closed up back there?

Windows. Patio doors?

[Richard] Close the shutters.

Yes, I did everything you told me to do.

- 'Lights?' - Yes.

'You sure?'

Richard, if you don't believe me, go check for yourself.

[indistinct radio chatter]

I can't believe it.

Squad cars, cops all over the place.

Who do they think I am? John Dillinger?

You're man with a g*n.

If Gary hadn't barged in.

Well, he did, and now things have gotten out of hand.

[Jason] 'There's police cars outside.'

I thought I told you to stay in bed.

I was, but the lights woke me up.

Get back in bed.

But..

In bed right now and stay there!

Why do you have to yell at him like that?

Can't you see he's frightened?

We're all frightened.

[indistinct radio chatter]

So, what kind of a g*n is it?

Uh, a revolver.

Um,.32,.38, I don't know.

You've never seen it before?

I didn't even know he had a g*n.

Was he in the service?

The Coast Guard, back east.

So, he's had some experience with firearms.

I'm sure he hasn't fired a g*n in years.

Richard hates g*ns.

You think he would have shot you?

I don't know, somebody points a g*n at you.

Discretion is the better part of valor--

Mama, not now, please.

Look, he's been acting very strange lately.

'He's been under a lot of pressure.'

A few weeks after Laura left him, he lost his job.

- He was fired. - Nothing on Richard Avery.

Oh, look, all things considered, I think

he's been handling things pretty well.

[Val] 'Yeah, up until now.'

He and I went out for dinner last night

and when we got back, he insisted

on coming in for a drink.

Then he wouldn't leave.

It got pretty ugly

and he left in a rage.

How do you think he'd react?

You let him on.

- I didn't lead him on. - Oh, come on, Val.

Hey, hey, hey, please. We're wasting time.

Look, Lieutenant, please, can I-can I try to talk?

Close those drapes.

Why? I-I don't understand.

- You got something, Carl? - Hm?

Oh, oh, yeah, yeah. Thanks.

Area's secured, the team's in place.

- Anything on the g*n? - No permit.

Captain Sanchez. I..

Uh, I know how you feel, Mrs. Fairgate

but Carl's been doing this work for years

and he's never lost a man.

There's always a first time.

[Richard] 'Tell me what you want, Laura.'

'Tell me what kind of relationship you want.'

'I think that's a good place to start.'

Will you put that thing away, please?

We need to find a common ground.

Some basis for compromise.

Richard, we're not in litigation.

We can't negotiate a relationship

like some corporate merger.

'We need to distance ourselves, emotionally.'

Distance ourselves?

The house is surrounded by cops.

You're standing there with a g*n in your hand

and you're talking about emotional distance.

- Do you know how insane-- - Just..

Just tell me what you want.

[phone ringing]

I think you better answer it.

- What do you want? - It's probably the police.

The only person I want to talk with is you.

They're just gonna keep calling.

Mr. Avery.

[Richard on phone] 'Is this the police?'

Name's Carl Burman. Can we talk?

You the crisis negotiator?

[Carl on phone] 'That's right.'

This isn't a crisis. Go home, Mr. Burman.

I wish I could.

I got a wife and two kids myself.

- I'd rather be home with them. - Be my guest.

[phone hangs]

[phone dial]

[phone rings]

We're trying to talk. Will you leave us alone?

Then why the g*n?

I'm not going to sh**t anybody.

I know that.

Look, why don't you..

Why don't you give up the g*n and then go back

and talk to your wife, huh?

[chuckles] You think I'm a complete moron?

[insects chirping]

Alvin, this is Dixon.

- Do you copy? - 'I read you.'

Okay, the kid's watching TV in the upstairs bedroom.

Look, how long you planning on keeping her there?

- Go ahead. - Day, two days a week?

You sure it's the boy?

[Carl] 'Frighten her into coming back?'

'Well, then, what's it going to gain?'

Roger.

It's tough, Richard. Believe me, I know.

[sighs]

You bet it's tough. And you're making it tougher.

You're wasting my time, Burman.

[phone hangs]

Gotta hand it to him, guy's good.

What was he saying?

Oh, just trying to get me to talk.

You want a drink?

- What? - Drink. Do you want to drink?

Um.. Do you have any wine?

Yeah.

[Richard] 'A good one.'

Here's the layout, captain.

You think they'll keep talking?

- It's up to her. - Why?

I want to get the boy out.

Well, how do you know he'll go?

Okay, he'll go. He's just a kid.

He's probably scared out of his wits.

'He'll go.'

[Karen] 'You don't know Jason. He's crazy about Richard.'

And-and Richard probably told him to stay put.

How about Clay? He's good with kids.

Okay. Dixon's in the sideline.

How are you going to get him down?

Well, I got a MC and Clay

in back of the house near the pool.

I'll bring him through the alley, over the wall.

'The boy's on the second floor.'

[Sanchez] 'You need backup out here.'

Do you think he'll call back?

I'm sure he will.

Thank you.

Like the wine?

- Laura? - Mm?

Well, it's great.

It should be, goes for about 40 bucks a bottle now.

Is this the same stuff you bought in Mendocino?

Last bottle. I wish I'd bought more.

What was the name of that place we stayed in?

- Little River Inn. - 'Oh, right, yeah.'

I think that's where Jason was conceived.

It's too cold to get out of bed.

[insects chirping]

[suspenseful music]

The Raccoon. Raccoon.

[laughter]

And you are standing there stark naked

waving your fishing pole at him.

[chuckles]

You loved me then, didn't you?

Ah, Richard.

When did you stop?

I don't know that I did.

[insects chirping]

[knocking on window]

- Thanks, Jason. - How come you know my name?

Good intelligence work.

Your mom and dad are still downstairs?

Richard, listen.

Ever since I've moved out of here

I look forward to coming home at night.

You know what a relief that is?

I don't know why I'm so angry.

Maybe at myself for putting up with it all these years.

All I know is, whenever I'm with you, I...I see red.

Do I agree now?

Now?

Want you to come with me now.

My dad told me to stay in my room.

I'll bet that was before we showed up.

We can't.

You ever climb a SWAT as*ault ladder?

- Are you a real SWAT guy? - Yep.

- You want to wear this? - Yeah.

Now, really quiet. Take your time.

There's someone down there to help you down the ladder.

Well, I want to know is..

Do you want to?

Somebody upstairs.

Richard. Richard, don't!

Richard.

[insects chirping]

[dramatic music]

[door opens]

Jason! Jason!

Jason!

Jason!

Richard?

- How did they know? - Know what?

You must have told Gary something.

How did they know Jason was in this room?

When you and Jason came--

Shutters were closed. The lights were out.

- What did you tell them? - Tell them?

Come on downstairs.

- Richard, please. - Just shut up.

- Richard-- - Shut up!

Wow. Will you look at that?

Whoa!

That policeman said you climbed down

that ladder all by yourself, huh?

What's wrong with my dad?

Your dad's just upset, honey.

You see, he's lost his job, and he..

He's been by himself too much.

He's going to be fine.

He just needed somebody to talk to.

Are they going to hurt him?

Oh, of course not.

I'll tell you what.

Why don't you go on upstairs with Lily Mae

and I'm going to bring you some hot chocolate.

She's going to tell you a story.

I promise you, she tells her best story.

Did I ever tell you the one about the monster in the swamp?

No.

[Lily Mae] Well, when I was a girl your age

'we lived on the edge of this big, old swamp.'

Poor kid.

[sighs] Yeah.

- Poor Richard. - Poor Richard?

Yeah.

You wouldn't say that if you'd seen Laura.

They ought to lock him up and throw away the key.

I will never forget two years ago

when you went off on a drunk..

...you were crazy, angry, drunk.

And it was Richard who dug you up out of that Skid Row bar.

And it was Richard who brought you home.

Oh, I brought him home.

Gary, he found you.

Wha-what do you want me to do?

I don't know, it's what we should have done.

Well, I went over to the house.

Yeah, but you went looking for Laura.

And you see, Richard's the one who's in trouble.

I mean, he's been in trouble for weeks

and we haven't even raised a finger to help him.

Richard doesn't like me.

He wouldn't have accepted our help.

Yeah, but we didn't even try.

[Carl] 'Forty-six.'

Forty-seven.

Oh, thank you.

Forty-eight.

Hang up, Carl.

Give him five minutes and try again.

[phone hangs]

- Thanks. - Mm-hmm.

Well, at least he hasn't pulled the phone out.

You want to go in?

Carl?

We go in in five minutes.

Why did you marry me, Laura?

I loved you.

Why did you love me?

- I don't know, Richard. - You don't know?

You were sweet to me. I felt protected by you.

Protected.

Safe. You know, secure.

You took care of me. I needed that.

Now?

Well, I'm different now.

I grew up, I've got a successful career.

I don't need to be protected anymore.

So, what was I? A stop along the way?

Oh, Richard. People change.

You know? Relationships change.

That's why marriage is so hard.

Well, what-what can I change about

myself that will make you love me again?

[phone rings]

I can't answer that.

Tr-tr-try.

I can't.

Try, Laura, I'm floating around up here.

I can't see the ground anymore.

[phone rings]

Richard, you better answer that.

I don't know how to help you, but maybe somebody else does.

Sit down.

You got my kid, Burman. What else do you want?

You okay? You must be very tired.

[Richard] 'Is that what you called to tell me?'

We're not going away, Richard.

We're going to stay here all night, if that's what it takes.

'You know, your timing is exquisite.'

'Every time we start making progress'

'you butt in with a phone call.'

Why don't you pull the phone out?

Oh, and give you an excuse to bust the door down?

You'd like that, wouldn't you, Burman?

You could go home.

Richard, this is Karen.

- Karen? - Mrs. Fairgate..

Hey, why don't you..

Why don't you give her a chance?

- Mrs. Fairgate.. - I can't do that.

She's his friend. His only friend.

- Let them handle it, Joe. - Alright, hold it.

[Joe] 'What are you-what are you in such a hurry for?'

You can k*ll him later.

She's not trained to handle this situation.

Maybe not, but what do you got to lose?

But-but they're not leaving until you come out.

You've painted yourself into a corner, Richard.

Tell him to go home, Karen.

Tell him to leave us alone.

Move him in. It's our best shot.

- You think he'll keep talking? - I hope so.

Hey, Burman, why don't you leave them alone?

Maybe-maybe she'll talk him out.

All units, this is Alvin. We're closing it up.

- You can't do that. - Joe.

They know what they're doing.

- It's getting light out. - He trusts her.

Not Boy Scouts, Mr. Cooper. Our job is to get him out.

I didn't mean to frighten him.

I-I bought him a set of electric trains.

Oh, honey. Look..

...he's-he's just worried about you.

He doesn't want you to get hurt.

[Richard] 'I'm-I'm doing this for him as much as for myself.'

'Get away from the window!'

Richard?

I've-I've got to hang up now, Karen.

No, um, Richard.

Why-why don't you, you come over here and we'll talk, okay?

You're-you're-you're a good friend, Karen.

But, uh..

But Laura's the only one who can help me now.

No. She can't.

You have to help yourself.

I don't know where I am anymore.

It's like a death.

- Right? - What?

Losing someone you love.

[birds chirping]

[Karen] 'It's not Laura, and it's not the marriage.'

'It's you.'

'That's where you've got to start.

I can't start a vacuum...without hope.

This house, it's so big.

There's nothing in it but me.

'Everything echoes. Everything reflects back.'

'It's like a tomb.'

My hair is growing, my nails are growing, but I'm dead.

Dead.

[phone hangs]

Richard?

[suspenseful music]

He hung up.

I think he's over the edge.

Tell Alvin to end it now.

Alvin, this is Sanchez. Do you copy?

This is Alvin to all units.

We are going in. Repeat.

[Alvin] 'We are going in.'

Acknowledge.

- Clay? - 'I'm in position.'

Roger.

[music continues]

My God. All these trains.

Ten seconds. Counting down.

Ten.

'Nine. Eight. Seven. Six.'

[intense music]

[toy train whirring]

What the hell is that?

A train?

- Get out. - What?

Get out.

[pensive music]

'The woman's out.'

Mr. Avery.

Put the g*n down and come outside.

[suspenseful music]

No!

Richard!

Drop the g*n, Mr. Avery.

Mr. Avery...drop it.

Mr. Avery.

[g*n clicks]

[g*n clicks]

[birds chirping]

Why is this thing so heavy?

If he can get the rest of them in there.

If he can lift it.

Have the gas and the electricity turned off.

But I left the water on.

Would you mind turning on the sprinkler once a week?

- No problem. - You need a hand with that?

No, no, no, I can manage.

I thought Richard might like some clean shirts.

[door closes]

Okay.

Well, how long will they have to be at the hospital?

Well, they can keep him 72 hours for observation

and then he's on his own.

Do you think he'll come back here?

I don't know.

What do you...think you're going to do?

I don't-I don't know.

[car door opens]

Well, maybe he'll get some help now.

Mm-hmm.

Well, thank you guys for helping me.

I really appreciate it.

Hey, you want me to call you tomorrow?

Yeah. Yeah, that'd be nice.

Okay. Good.

- Bye. - So long.

[car door closes]

Bye.

[engine starts]

[engine rumbling]

Hi.

Hey, what's been going on around here?

We stopped at the market, and the checkout

girl said that there'd been cops all over the place.

Well..

Come on, I'll walk you back to your house.

How was San Francisco?

Ah, you should have been there.

- Yeah? - She was terrific.

- She knocked him dead. - Uh, good.

They want me to come back.

Uh, babe, you know something? I've been thinking.

I think what we ought to do is buy

you a whole new wardrobe and really

come up with something that's all your own, you know?

You hear that, Aaron and Molly?

No more jeans in Western shirts.

[Kenny] 'No, I mean, something romantic'

'like silk and-and-and satin, that kind of stuff.'

[Karen] 'Oh, I think you'll like that.'

[instrumental music]

[theme music]