There’s no sign of a break in at the house, so they focus on the husband, who’s recovering at a hospital, while seeking out the couple’s mysterious children. This is where Rachel is led to Helen, one of their daughters, played by Walker. Rachel and One of the Assorted Dude DCs Who Are Not Really Important approach Walker at the store counter where she works, where, greeting them as customers, she is first full of smiles.
This quickly changes when she discovers they’re cops; they sit in a backroom where Rachel shares the news of Helen’s mother’s death. To which Helen quietly replies, “Right.” As you say when you find out your mother died. She goes on to say that she hasn’t seen her mother, or stepped inside of that house, for over 30 years. The only sister she still spoke with killed herself last year, and she can offer up no further information on the two other siblings Rachel is pressing for information for. After continually insisting she can be of no help, she eventually excuses herself.
From the first moment on screen, Helen’s body language emanates an almost palpable sense of pain and discomfort. Her responses are strained; she seems short of breath; she’s nervous and tense but more in a frightened-of-my-own-past type of way than a suspicious one, along with a healthy dose of shock. And her eyes, while guarded, are absolutely piercing.
Yet while Helen appears more traumatized than guilty, the bedridden husband is becoming more and more alert at the hospital and reveals that he heard people in the house that night, and identified the voices as being those of Helen and her dead sister. So, that’s weird. But enough to arrest Helen on suspicion of murder.