The Who would like to know who thought going to the credits with a hologram instead of a one-liner was a good idea.
When we return from commercials, we see Ecklie handling the press. He's very good at it, and it's very nice to see this character getting fleshed out; it makes him more interesting as a dramatic foil.
About 50 feet away, Catherine's concluding that Bruce either jumped, fell or was pushed. That, or someone stopped clapping their hands and believing in moguls. Warrick points out, "The facial impact is consistent with the blood pool, but not with the current position." Gil speculates that the head got moved. Nicky points out that they can't lay this one on Hank, the duplicitous, body-moving bastard -- "According to them, he had a broken neck." Gil's martyred expression is replaced by his ineffably smug one: "Well, then, he didn't roll himself over." Catherine continues to look vexed. She figures taking out her aggression on the wife will help. Wendie Malick will be playing the Frosty WASP Of A Certain Age tonight; I suppose Christine Baranski was busy.
In the next scene, she and Brass are standing in the mansion's tremendous foyer, and she's answering Brass's question about any domestic witnesses with, "Oh, the staff always gets Thursday nights off. I don't get what the mystery was here -- he was murdered. Some guys collect art, Bruce collected enemies." Brass tells Frosty McWASPy that he's more interested in what happened after Bruce died. Mrs. Eiger takes umbrage at that line of thought, but Brass is undeterred by her Frost Ray and says, "Donna, your husband's boxer shorts -- he wasn't wearing them when he died, was he." Donna explains, "I pulled in, I saw Bruce lying there -- naked. I knew that the news was on its way. I didn't want the whole world to see him like that." Brass is all, "So you moved the body, huh?" Donna huffs, "Yes, I turned him over, I put his shorts on. What, is dignity a crime?" When it's shorthand for "moving a body," then yeah.
Gil goes poking around the garage, which is populated with a small fleet of cars. He feels the hoods to see which one was most recently driven, and when he finds it, he tries to door -- it's locked. He opens the garage door, wanders down to where Sara and Grasshopper, his Adopted Son Number Three, are standing, and says, "Question: you come home, see your husband lying in the driveway. What do you do?" "Make sure the insurance premiums are up to date, call the travel agent and -- ooops. Was that in the out-loud voice?" Grasshopper, Gil's Adopted Son Number Three wonders. Oh, not really. He actually asks if that's a trick question. Sara says, "Stop. Jump out. Run over to him." Gil counters, "Or take the time to pull into the garage, park and lock your car?" Sara looks around to see if there's a larger point here; Grasshopper, Gil's Adopted Son Number Three is still stuck on the trick question part.