It does have a sort of post-apocalyptic charm. [A joke. He walks up the steps and pushes open the door.] I’ve programmed the house without any people in it, but in the real world, my mother would probably be home and at least a couple of her staff definitely would. [The entrance hall is opulent, the design classic. Timeless. Malcolm leads him down a hall and through double doors to the formal sitting room, then to a door in the corner that leads to a plain wooden staircase, lacking the adornments of the part of the house meant to be lived in and seen. Down the stairs to an only partly finished basement with cement floors.] That was my father’s office in there. I was with him that night. He was teaching me about the nerves of the hand. Then he told me it was time to head up to bed. I was walking through here… [He gestures to the hallway where they’re standing, then points to the end of the hall. A room without an actual door in the doorway.] I heard something from in there. I went over to see what it was. [As they approach the room, the travel trunk is quite plainly sitting right there on the floor. Pandora’s Box.] She was still alive. The girl in the box. I found out later that she saw me when I saw her. I opened it and saw her in there and I screamed. My father grabbed me from behind and put a chloroform soaked rag over my mouth and nose until I passed out. [He turns and looks at Will.] We were supposed to be in the Hamptons, but a road closure brought us back home soon after we left and he had to hide her quickly. Hastily. Hence the trunk. [He gestures to a nearby wall, then walks over and opens a hidden panel.] One of his kill rooms was right here. But he was waiting for us all to go to sleep so he could move her.