Criminal Minds: Beyond Borders (2016–2017): Season 1, Episode 4 - Whispering Death - full transcript
When some Americans in Japan die and the Japanese police classify them as suicides but their families don't believe it. So the team is sent to find out for sure. The Japanese police don't appreciate their presence. They find a witness that contradicts the theory of it being a suicide and Mae also examines the body and also finds evidence to the contrary. So they try to find out who is killing them and why?
Jack:
OVER 68 MILLION AMERICANS
LEAVE THE SAFETY
OF OUR BORDERS EVERY YEAR.
IF DANGER STRIKES,
THE FBI's
INTERNATIONAL RESPONSE TEAM
IS CALLED INTO ACTION.
[ FRENCH MUSIC PLAYS ]
[ INDISTINCT CONVERSATIONS ]
OH, YOU GUYS GO AHEAD.
I THINK I'M GOING TO WALK BACK.
[ SCOFFS ]
YOU'RE CRAZY.
YOU'RE LIKE OVER A MILE
FROM YOUR APARTMENT.
ARE WE FORGETTING
MY THREE-MILE MORNING JOGS?
DESPITE
WHAT THE FRENCH THINK,
ALL AMERICANS
AREN'T FAT AND LAZY.
SAM, ARE YOU SURE?
IT'S KIND OF LATE.
LADIES,
WE'RE IN PARIS.
IT'S A BEAUTIFUL NIGHT,
AND YOU WANT TO SQUEEZE YOURSELF
ONTO A SUBWAY TRAIN WITH A CAR
FULL OF DES éTRANGERS?
YEAH.
SOMEBODY HAS WATCHED
"MOULIN ROUGE!"
WAY TOO MANY TIMES!
COME ON!
WHO'S COMING WITH ME?
SAM, I LOVE
YOUR BOHEMIAN SOUL AND ALL,
BUT MY SOLES
ARE HURTING LIKE HELL.
NO WAY I'M WALKING ACROSS TOWN
IN THESE SHOES.
QUEL DOMMAGE.
[ SMOOCHES ]
[ CHUCKLES ]
♪♪
[ HORN HONKS IN DISTANCE ]
OH. DAMN IT.
[ GROANS ]
[ SIREN WAILS IN DISTANCE ]
[ VEHICLE APPROACHES ]
[ BRAKES SQUEAL ]
MADEMOISELLE,
çA VA?
çA VA, MERCI.
UH...
[ CHUCKLES ]
I JUST COMPLETELY FORGOT
HOW TO SAY, "I BROKE MY HEEL."
"JE CASSé
MON TALON."
OF COURSE,
YOU SPEAK ENGLISH.
UN PEU. [ French accent ]
UH, MAY I HELP YOU, MISS?
NO,
I'M GOOD.
THANK YOU.
MERCI.
WELL, YOU SURE
I CAN'T OFFER YOU A RIDE?
I CAN TAKE YOU
ANYWHERE YOU LIKE.
Jack:
SAMANTHA WADE.
ELEMENTARY-SCHOOL TEACHER
FROM NASHVILLE, TENNESSEE,
FOUND THIS MORNING
BY TWO OF HER FRIENDS.
MURDERED AND STAGED IN
THE APARTMENT SHE'D BEEN LEASING
FOR THE PAST THREE WEEKS.
Due to the brutal
and provocative nature
of Samantha Wade's
murder,
our ambassador
and the French foreign minister
have requested
the I.R.T.'s assistance
in the homicide investigation.
AND GIVEN THAT ABOUT TWO MILLION
AMERICANS VISIT PARIS PER YEAR,
NOT TO MENTION AN ADDITIONAL
50,000 ON WORK VISAS,
I'D BET
THEY'D ALSO LIKE US
TO DRAW UP A THREAT ASSESSMENT
TO U.S. CITIZENS.
WELL, THERE'S NOTHING
MORE THREATENING THAN THIS.
WHAT ARE THESE THINGS
IN HER EYES?
FRENCH INVESTIGATORS
HAVE IDENTIFIED THEM
AS TIMBER SCRIBES.
BLADED INSTRUMENTS USED BY LAND
SURVEYORS TO INSCRIBE TREES.
NOT EXACTLY
YOUR GO-TO MURDER WEAPON.
ESPECIALLY IN
AN URBAN ENVIRONMENT.
These tools are really old --
pre-World War I.
NO PRINTS, SO THEY'RE NOT
GONNA HELP US NARROW DOWN
OUR UNSUB'S CURRENT OCCUPATION.
YEAH,
BUT THESE SCRIBES
AREN'T EXACTLY
THE MURDER WEAPONS, EITHER.
I MEAN,
EVEN FROM THESE PHOTOS,
YOU CAN SEE
THAT THE OCULAR INJURIES
AREN'T
HER CAUSE OF DEATH.
BUT I DON'T SEE AN OFFICIAL
AUTOPSY REPORT HERE, MONTY.
The autopsy is being performed
by the Paris coroner
as you guys
sail over the Atlantic.
IT SAYS HERE
THAT LATE LAST NIGHT,
SAMANTHA HAD DINNER
WITH THE SAME TWO FRIENDS
WHO FOUND HER THIS MORNING --
SHEILA MARTIN AND RENEE ALSTON.
ACCORDING TO THEM,
SHE CHOSE TO WALK HOME
WHILE THEY TOOK THE METRO TRAIN.
YEAH, AND THAT WAS AROUND
12:30 A.M. LOCAL TIME.
SO SAMANTHA COULD HAVE EASILY
BEEN FOLLOWED HOME.
Jack: SURE.
BUT THERE WERE NOT SIGNS OF
FORCED ENTRY INTO HER APARTMENT.
SO IT'S POSSIBLE
THAT SHE KNEW
OR WAS FAMILIAR WITH
HER ATTACKER.
Except
that the French investigators
are interviewing all of her
known friends and associates,
including Sheila and Renee.
EVERYBODY'S ALIBI
IS CHECKING OUT.
WHICH MEANS SAMANTHA'S ASSAILANT
MIGHT HAVE PRESENTED IN A WAY
THAT FELT COMFORTABLE
TO HER.
WELL, SAFE ENOUGH
TO OPEN THE DOOR.
Clara: WELL,
THERE'S ALSO THIS FRENCH SAYING,
SE METTRE LE DOIGT
DANS L'OEIL,
WHICH MEANS
TO PUT YOUR FINGER IN YOUR EYE.
IT'S THE FRENCH EQUIVALENT OF
PUTTING YOUR FOOT IN YOUR MOUTH.
AS IN
TO MAKE A MISTAKE.
A MISTAKE THAT,
OBVIOUSLY,
SOMEONE FELT
SAMANTHA HAD TO PAY FOR.
Jack:
GOT TO BE MORE TO IT.
I MEAN,
THIS STAGING IS SO EXTREME.
IT'S LIKE HE'S PICTURED IT
IN HIS MIND'S EYE FOR A WHILE,
AND NOW HE'S BRINGING IT
TO LIFE.
WELL,
IF THAT'S THE CASE, JACK,
ALL OF THIS PREPARATION
AND EFFORT,
HE'S DEFINITELY
GOT A TASTE FOR IT NOW.
[ CONVERSING IN FRENCH ]
♪♪
BON APRèS-MIDI.
♪♪
[ HORN HONKS IN DISTANCE ]
[ KNOCKING ON DOOR ]
JUST A SEC!
[ HORN HONKS IN DISTANCE ]
[ SPEAKING FRENCH ]
Man:
PARDON ME, MADEMOISELLE.
YOU LEFT
SOMETHING BEHIND.
[ GASPS ]
♪♪
[ GASPING ]
♪♪
NO, PLEASE!
N'AYEZ PAS PEUR.
CESERA BEINTôT.
DO NOT BE AFRAID.
IT WILL BE OVER SOON.
♪♪
[ HORN HONKS ]
♪♪
"THE BONDS BETWEEN OURSELVES
AND ANOTHER PERSON
EXIST ONLY IN OUR MINDS."
MARCEL PROUST.
[ TELEPHONES RINGING ]
[ INDISTINCT CONVERSATIONS
IN FRENCH ]
YOU MUST BE FROM THE FBI,
NO?
YES,
WE ARE.
I'M UNIT CHIEF
JACK GARRETT.
THESE ARE SUPERVISORY
SPECIAL AGENTS
SEGER, JARVIS,
AND SIMMONS.
AND YOU ARE?
COMMISSAIRE PIERRE CLEMENT,
LEAD INSPECTOR,
POLICE JUDICIAIRE.
IF YOU WOULD FOLLOW ME,
PLEASE.
I'M NOT FLUENT
IN THESE JOINT OPERATIONS,
SO YOU MUST FORGIVE ME
IF I DON'T APPRECIATE HAVING,
HOW YOU SAY,
MY HAND HELD.
COMMISSAIRE CLEMENT, WE ARE NOT
HERE TO HOLD YOUR HAND,
JUST LEND OUR EXPERTISE
AND EXPERIENCE.
BIEN SUR.
DURING YOUR FLIGHT,
ANOTHER WOMAN WAS FOUND --
STAGED
IN HER APARTMENT.
INSTEAD OF MUTILATING THE EYES,
HE CUT OFF HER HEAD.
TOOK IT WITH HIM.
ANOTHER
AMERICAN WOMAN?
OUI.
WE HAVE MADE
AN IDENTIFICATION.
Simmons: BIANCA LEWIS,
37 YEARS OLD,
WORK VISA SAYS SHE WAS EMPLOYED
AS A PUBLICIST.
LIVING IN PARIS
FOR ABOUT 18 MONTHS.
IS THERE ANY CONNECTION BETWEEN
BIANCA LEWIS AND SAMANTHA WADE?
NONE THAT MY INSPECTORS HAVE
BEEN ABLE TO ESTABLISH THUS FAR.
WE'LL FOLLOW UP
WITH VICTIMOLOGY BACK HOME.
BUT RIGHT NOW,
ALL WE KNOW
IS SAMANTHA
WAS A TOURIST
AND BIANCA WAS A TEMPORARY
NON-IMMIGRANT WORKER.
STILL, FEMALE AMERICAN --
BOTH STAYING IN THE
18th ARRONDISSEMENT.
MONTMARTRE --
PART OF THE RIGHT BANK IN
THE NORTHERN SECTION OF CITY.
HEY, GUYS,
TAKE A LOOK AT THIS.
[ WOMAN SPEAKING FRENCH ]
SOMEBODY HAS BEEN SERIOUSLY
OVER-SHARING WITH THE PRESS.
WELL, THAT WOULD BE ME,
MADEMOISELLE.
IN MY EXPERIENCE,
SHARING WITH OUR JOURNALISTS
OFTEN HAS A WAY OF...SHAKING
THE FRUIT OUT OF THE TREE.
AND SMACKING YOU ON THE HEAD,
RIGHT?
LET'S JUST SAY THAT YOUR FAITH
IN THE PRESS CORPS
IS A LITTLE STRONGER
THAN OURS.
SO, I'VE ARRANGED FOR YOU
TO WORK OUT OF THIS ROOM.
AND COPIES
OF ALL OUR REPORTS
WILL BE MADE AVAILABLE
AS SOON AS WE --
ACTUALLY, I'LL NEED TO VISIT
THE BIANCA LEWIS CRIME SCENE
WITH
AGENT SIMMONS HERE.
I'LL ALSO NEED AGENT JARVIS
TO REVIEW THE AUTOPSY FINDINGS
WHILE AGENT SEGER
LOOKS OVER THE EVIDENCE
COLLECTED AT
THE SAMANTHA WADE SCENE.
ANYTHING ELSE YOU REQUIRE,
SIR?
NO,
THAT'S IT.
FOR NOW.
TRES BIEN.
♪♪
LET'S GET TO WORK.
Jack: JUST LIKE
AT SAMANTHA'S APARTMENT.
BIANCA'S BODY
WAS POSED
IN THE SAME AREA OF THE ROOM
AS SAMANTHA'S,
THE SAME
SITTING POSITION...
WITH ALL THE VIOLENCE
CONCENTRATED RIGHT HERE.
EVERYTHING ELSE LOOKS
PRETTY UNDISTURBED.
LIKE BIANCA HAD JUST
COME HOME FROM GROCERY SHOPPING.
Simmons: THESE BAGS
ARE PRETTY FULL, THOUGH.
MAYBE SOMEBODY HELPED HER
CARRY THEM UP THE STAIRS.
WHAT ARE YOU THINKING,
JACK?
NO ARTERIAL SPRAY.
HE KILLED HER
BEFORE HE REMOVED HER HEAD.
POSTMORTEM MUTILATION.
IT'S LIKE WHAT MAE SAID
ABOUT SAMANTHA'S EYES.
♪♪
YOU THINK HE TOOK THE HEAD
AS A TROPHY?
IT'S HARD TO SAY.
MAYBE HE THOUGHT
IN THIS CASE,
HAVING A SEVERED HEAD
LYING AROUND
WOULD JUST
CONFUSE HIS MESSAGE.
WELL,
I'M CONFUSED.
WE HAVE ONE WOMAN
WITH GOUGED EYES,
ANOTHER
WITH NO HEAD.
WHAT THE HELL'S
HE TRYING TO SAY,
BESIDES, "I'M A SICK,
MISOGYNISTIC SON OF A BITCH"?
THE STAGING AT BOTH SCENES
WAS DELIBERATE, COMPLICATED.
IT WOULD HAVE TAKEN
A LOT OF TIME.
AND YET OUR UNSUB HAD NO FEAR
OF INTERRUPTION OR DISTRACTION.
BECAUSE YOU THINK
THAT HE KNEW
THEY WERE STAYING
IN THESE APARTMENTS ALONE.
WHICH WOULD SUGGEST THAT
EVEN IF SAMANTHA AND BIANCA
DIDN'T KNOW EACH OTHER,
THEY MIGHT HAVE KNOWN
THE UNSUB.
EXCEPT HE'S COMPLETELY
OBJECTIFIED HIS VICTIMS.
IT'S A LOT HARDER
TO OBJECTIFY SOMEONE
YOU'VE HAD
A RELATIONSHIP WITH...
RATHER THAN
A STRANGER.
SO HOW DO YOU GET TO
KNOW SOMEONE WITHOUT
REALLY KNOWING THEM?
[ SIGHS ]
ALL RIGHTY.
THREE YEARS OF COLLEGE FRENCH,
DON'T FAIL ME NOW.
OKAY.
"L'AGRESSION
à COUP DE COUTEAU..."
"THE SHARP-FORCE INJURY
TO EACH EYE OCCURRED..."
"...APRèS LA MORT."
"POSTMORTEM."
GOOD CALL, JARVIS.
"WITH SAMANTHA'S CAUSE DE DéCèS
ACTUALLY BEING ETRANGLEMENT."
STRANGULATION,
BROKEN HYROID BONE.
WHILE BIANCA'S CAUSE OF DEATH
IS...
ALSO ETRANGLEMENT, WOW.
OKAY, "AVANT LA MORT..."
"ANTEMORTEM CONTUSIONS
SUGGEST MANUAL STRANGULATION
PRIOR TO THE CRUDE
DISARTICULATION OF THE HEAD."
HOLD ON.
"ALSO RECOVERED
A FRAGMENT OF METAL,
POSSIBLY A PIECE OF
L'ARME DU CRIME."
THE MURDER WEAPON.
OH, WAY TO BURY THE LEDE, GUYS.
♪♪
[ COMPUTER BEEPING ]
♪♪
WEIRD.
[ CELLPHONE CLICKS ]
QUOI DE NEUF,
MON CHER AMI?
HEY, I NEED YOU
TO RUN SOME EVIDENCE FOR ME.
OKAY, BUT YOU DO KNOW
THAT THE FRENCH
PRETTY MUCH INVENTED
FORENSIC SCIENCE, RIGHT?
YEAH. GIVE OR TAKE
A HUNDRED YEARS.
I'M JUST SAYING THAT THEY'VE GOT
A PRETTY GOOD CRIME LAB
RIGHT THERE
IN PARIS.
SO THE CORONER
WAS ABLE TO RECOVER
A PIECE OF THE MURDER WEAPON
FROM BIANCA'S BODY,
AND I KNOW
THAT THEY'RE GONNA MASS-SPEC
THE YOU-KNOW-WHAT
OUT OF IT.
But there is this weird piece
of this symbol on it.
THESE CURVY, WAVY LINES
LOOK LIKE I GOT SOME WORK TO DO.
SO SAMANTHA HAD DINNER
WITH HER FRIENDS
HERE IN THE
10th ARRONDISSEMENT.
AND THEN SHE WALKED BACK TO
HER APARTMENT HERE IN THE 18th.
WE HAVE YET TO DETERMINE
THE PRECISE ROUTE,
SO A BROAD SEARCH
OF CCTV FOOTAGE
HAS TURNED UP
NOTHING YET.
HOWEVER...
IT WOULD APPEAR
SHE ARRIVED HOME,
AND THEN
SOME TIME LATER,
SHE INVITED THE INTRUDER
INSIDE THE PREMISES.
THAT'S A VERY LONG WAY
TO WALK IN THOSE HEELS.
THAT'S WHAT
HER FRIENDS THOUGHT, TOO.
ONE OF THE HEELS
IS BROKEN.
SNAPPED OFF IN THE STRUGGLE
WITH HER ASSAILANT, TO BE SURE.
ARE YOU SURE?
DID YOU SEE
THIS RESIDUE?
I DID NOT PERSONALLY PROCESS
THE VICTIM'S CLOTHES, NO.
BUT I'M NOT SURE
HOW GRAVEL WOULD BE PROBATIVE.
IT'S NOT GRAVEL.
DO YOU SEE HOW IT SORT OF
SHIMMERS IN THE LIGHT?
THIS IS
EPOXY MORTAR.
IT'S USED TO SET, AMONG
OTHER THINGS, COBBLESTONES --
LIKE THE ONES
IN SOME OF YOUR FAMOUS
LITTLE STREETS AROUND HERE.
AGENT SEGER,
THOSE COBBLESTONE STREETS
ARE HUNDREDS
OF YEARS OLD.
EXACTLY.
THAT'S WHY PEOPLE TRAVEL ALL
OVER THE WORLD TO WALK ON THEM.
THE DIRTY LITTLE SECRET
IS SOME OF THOSE STONES
ARE NOT
NEARLY AS OLD AS ADVERTISED.
BIEN SUR,
THEY REQUIRE MAINTENANCE.
AND SOME OF THEM
EVEN NEED TO BE REPLACED.
THAT'S WHERE
THE EPOXY MORTAR COMES IN.
48 HOURS AGO,
SAMANTHA TOOK A WALK
ON A FRESHLY PAVED
COBBLESTONE STREET,
SOMEWHERE BETWEEN THE RESTAURANT
AND HER APARTMENT.
THAT'S WHEN
SHE BROKE HER HEEL.
AND SHE WALKED HOME
FROM THERE.
BUT SHE DIDN'T.
LOOK AT THE AUTOPSY PHOTOS
OF HER FEET.
THERE'S NO SCRATCHES,
NO DIRT --
NOTHING TO SUGGEST THAT
SHE WALKED BAREFOOT ANYWHERE.
SHE GOT A RIDE
BACK TO HER APARTMENT.
I SUPPOSE SHE COULD HAVE
HAILED A TAXI.
EXACTLY.
FROM A STREET THAT HAD
HAD RECENT ROAD WORK DONE.
AND IF WE'RE LUCKY, SOME SORT
OF SURVEILLANCE CAMERA.
PUTTING MAE'S
METAL FRAGMENT ASIDE,
I FOUND THE STREET THAT
YOU'RE LOOKING FOR, CLARA --
COUR DES RêVES.
RIGHT,
BUT COMMISSAIRE CLEMENT SAID
THAT THERE WERE
NO CCTV CAMERAS NEARBY.
He is correct.
HOWEVER,
THERE'S AN AMERICAN BANK
ON A NEARBY CORNER WITH A CAMERA
THAT CAPTURED THIS.
THEY WERE KIND ENOUGH TO SEND ME
THE SECURITY-CAMERA FOOTAGE.
Jack:
THAT'S NOT A TAXI.
IS THAT THE BEST IMAGE WE HAVE
OF THE DRIVER?
I AM AFRAID SO.
Mae: OH, IT DOESN'T LOOK LIKE
SHE KNOWS THIS GUY.
YEAH,
IT'S SO WEIRD.
I MEAN, NOT ONLY DOES SHE
GET INTO A CAR WITH A STRANGER,
BUT SHE GETS
INTO THE BACKSEAT.
THERE'S NO RECORD OF SAMANTHA
REQUESTING A RIDE-SHARE.
WHAT IF
IT WAS A GYPSY CAB?
GYPSY CAB
IN PARIS?
HOLD ON.
WAIT.
WHAT'S THAT RIGHT THERE --
HANGING FROM
THE REARVIEW MIRROR?
IT LOOKS LIKE
A HACKNEY HORSE.
WHICH IS A RECENT SYMBOL
FOR GYPSY CABS IN THE CITY.
AND THAT'S HOW YOU GET TO KNOW
SOMEONE WITHOUT KNOWING THEM.
OUR UNSUB
DRIVES A GYPSY CAB.
MAKES PERFECT SENSE --
HE NEEDS A WAY TO LEARN
IF HIS PROSPECTIVE VICTIMS
ARE AMERICAN, LIVING ALONE.
THIS WAY,
HE GETS TO INTERVIEW THEM.
IT'S KIND OF LIKE
"TAXI CAB CONFESSIONS."
I MEAN, TAXI-CAB DRIVERS
AND BARTENDERS --
THEY'RE ALWAYS
THE STRANGERS
THAT WE FEEL THE MOST
COMFORTABLE CONFIDING IN.
BECAUSE
THEY ARE SHARED INTIMACIES
WE WANT TO BELIEVE
ARE FLEETING
AND DON'T HAVE
A LASTING IMPACT.
Simmons: AT LEAST WE HAVE
THE IMAGE OF THE VEHICLE.
THIS PARTIAL LICENSE-PLATE
NUMBER WON'T GET US VERY FAR.
IT WON'T
GET US ANYWHERE.
THOSE PLATES ARE STOLEN.
AND I GOT TO BE HONEST,
IT'S NOT GONNA BE THAT EASY
TRACKING DOWN
THIS ONE PARTICULAR VEHICLE.
THERE'S AT LEAST 25,000 OF THEM
REGISTERED IN PARIS ALONE.
WELL, WE CAN START
BY HAVING THE LOCAL POLICE
SWEEP THE
18th ARRONDISSEMENT.
WELL, THAT'S A START,
BUT OUR UNSUB'S HUNTING GROUND
IS GONNA EXPAND
WHEREVER HE CAN FIND
A VULNERABLE AMERICAN WOMAN.
AND WITH 2 VICTIMS
IN LESS THAN 48 HOURS,
HE'S ALREADY HUNTING
FOR HIS NEXT VICTIM RIGHT NOW.
♪♪
[ WOMAN SINGING IN FRENCH ]
[ LAUGHTER ]
[ SINGING CONTINUES ]
[ BRAKES SQUEAL, SINGING STOPS ]
HEY, HEY.
BONJOUR.
UH, JE VEUX
QUE VOUS ME CHASSEZ...
SORRY. PARDON.
UM, PEUX TU --
OH, IT'S ALL RIGHT,
MADEMOISELLE. I DO
SPEAK ENGLISH.
OH!
[ Laughing ] SERIOUSLY?
THAT'S AWESOME.
I CAN TAKE YOU
ANYWHERE YOU LIKE.
HOW ABOUT
17 RUE DE FOSS?
[ SPEAKS FRENCH ]
WHERE ARE YOU FROM,
THEN?
SAN DIEGO, CALIFORNIA.
AH.
AND WHAT BRINGS YOU
TO PARIS?
A MUSIC INTERNSHIP --
I PLAY PIANO.
IN THE CAFE WHERE YOU WORK,
I PRESUME?
NO, I JUST NEED
SOME EXTRA CASH.
AND IT'S HELPING ME
IMPROVE MY FRENCH.
[ CHUCKLES ]
SO, UH,
17 RUE DE FOSS.
THAT IS NOT
A HOSTEL OR HOTEL.
NO, YEAH,
I'M STAYING WITH A FRIEND.
AH.
A BOYFRIEND?
[ CHUCKLES ]
I WISH.
YOU MUST HAVE
A SPECIAL BOYFRIEND,
A BEAUTIFUL BUTTERFLY
LIKE YOU.
OH,
NOT SO MUCH.
HMM.
AND, UH...
HOW ARE YOU GETTING ALONG WITH
THIS FRIEND YOU'RE STAYING WITH?
YOU KNOW WHAT?
UM, DO YOU MIND JUST LETTING ME
OUT UP AT THE CORNER UP HERE?
BUT WE'RE NOT
AT YOUR APARTMENT.
NO, I KNOW, THAT'S OKAY.
JUST RIGHT UP HERE.
NO, IT'S NOT.
IT'S NOT SAFE HERE.
OKAY, LOOK, FRANCOIS,
I WANT OUT NOW!
♪♪
[ CAMERA SHUTTER CLICKS ]
[ SPEAKS FRENCH ]
[ CAMERA SHUTTER CLICKS ]
YOU LET ME OUT RIGHT NOW,
OR I'M SENDING THIS TO THE COPS.
DO YOU HEAR ME?
[ TIRES SQUEAL ]
WHAT THE HELL
ARE YOU DOING?!
[ YELLING IN FRENCH ]
[ SCREAMS ]
[ ENGINE REVVING ]
[ SCREAMS ]
[ HORNS HONKING ]
Clement:
KATHERINE BARKER, 25.
A MUSIC INTERN
FROM SAN DIEGO, CALIFORNIA.
SHE WAS DISCOVERED IN AN ALLEY
IN THE 2nd ARRONDISSEMENT.
HE LITERALLY TORE OUT HER HEART
AND STUCK IT IN HER HANDS.
Mae: LOOKS LIKE SHE SUFFERED
COMPOUND FRACTURES TO HER LEGS
AND HER PELVIS.
AND THAT TELLS ME
THAT HE TORE HER HEART OUT
AFTER
HE RAN HER OVER.
BUT WHY CHANGE
THE PATTERN HERE?
WHY STAGE THE BODY IN AN ALLEY,
NOT HER OWN APARTMENT?
BECAUSE KATHERINE
FOUGHT BACK.
SHE TRIED
TO GET AWAY.
THESE ABRASIONS ON HER FACE,
ALONG HER LEGS --
IT'S ROAD RASH,
I'D SAY FROM JUMPING OUT
OF A MOVING VEHICLE.
SO NOW WE'RE LOOKING AT
3 VICTIMS
IN THE SPAN
OF 72 HOURS.
AND GIVEN
THAT OUR UNSUB
NEEDS TO FIND AN AMERICAN WOMAN
IN A FOREIGN CITY,
IT'S AS IF HE DOESN'T HAVE
A COOLING-OFF PERIOD.
I THINK IT'S TIME WE SPEAK TO
THE PUBLIC ABOUT WHAT WE KNOW.
OFFER THEM A WARNING
TO AVOID CONTACT WITH THE DRIVER
OF THIS GYPSY CAB,
IMPLORE THEM TO NOTIFY
US IMMEDIATELY IF THEY
SHOULD SEE HIM.
THAT STRATEGY
CUTS BOTH WAYS.
"CUTS BOTH WAYS" --
WHAT DO YOU MEAN?
NO DOUBT A WARNING WILL PROTECT
THE PUBLIC IN THE NEAR TERM.
WHAT WE'RE CONCERNED WITH
IS IF WE'RE NOT ABLE
TO APPREHEND THE UNSUB
IMMEDIATELY AFTERWARDS,
THEN HE MIGHT RESPOND
BY ABANDONING THE CAR.
AND RIGHT NOW,
AS LONG AS HE FEELS COMFORTABLE
BEHIND THAT WHEEL, THEN WE HAVE
A CHANCE OF CATCHING HIM.
BUT IF
HE DITCHES THAT CAR,
NOT ONLY WILL IT MAKE IT HARDER
FOR US TO TRACK HIM DOWN,
IT WILL FORCE HIM
TO ALTER HIS M.O. EVEN FURTHER.
SO YOU'RE TELLING ME I'M DAMNED
IF I DO, DAMNED IF I DON'T.
WE NEED MORE TIME.
LETTING THE UNSUB KNOW
WHAT WE KNOW RIGHT NOW
IS REALLY
A NUCLEAR OPTION.
I WILL WAIT THEN --
UNTIL MORNING.
THEN WE SOUND
THE ALARMS.
♪♪
[ WOMAN SINGING IN FRENCH ]
[ WOMAN SPEAKING FRENCH ]
[ MUSIC CONTINUES ]
[ CAMERA SHUTTERS CLICKING ]
[ MUSIC CONTINUES ]
MONTY: So what did I tell you,
Mae? The French
ran a radiocarbon dating
on the metal fragment
THAT WAS RECOVERED
FROM BIANCA LEWIS' BODY.
TURNS OUT TO BE
AN IRON COMPOSITE
THAT WAS SMELTED DOWN INTO WHAT
IS ESSENTIALLY A HAND SAW --
SOME TIME IN THE LATE
19th CENTURY.
WELL, I'M GONNA GO OUT
ON A LIMB AND SAY
THIS PROBABLY WON'T
HELP US NARROW DOWN
OUR UNSUB'S IDENTITY.
MAYBE,
BUT IT DID HELP ME IDENTIFY
THOSE WEIRD WAVY LINES
ETCHED INTO THE FRAGMENT.
Now, because the timber scribes
and the hand saw
are both very old
and very French,
I did some digging
and discovered a logo
for a once-renowned
wood-craftsman company
out of Marseilles.
LE LION DE L'EAU.
COMPANY WAS FOUNDED
BY THE BOULANGER FAMILY IN 1880.
IT REMAINED FAMILY-OWNED
UNTIL IT WAS SOLD IN 1987.
AND WHATEVER HAPPENED AFTER THAT
TO EITHER THE COMPANY
OR THE BOULANGER FAMILY WAS NOT
UPLOADED FOR DIGITAL POSTERITY.
SO WHAT
ARE WE THINKING?
IF OUR UNSUB'S
WEAPONS OF CHOICE
CAN BE LOOSELY TRACED BACK
TO THIS COMPANY,
THEN IS HE A POSSIBLE RELATIVE
OF THE BOULANGER FAMILY?
OR A SUBSIDIARY THAT ACQUIRED
SOME OF THE COMPANY'S ASSETS.
YOUR GUESS
IS AS GOOD AS MINE.
JACK: We don't have time
for guesswork.
WE NEED TO BE ABLE TO PROVIDE
CLEMENT AND HIS PEOPLE
WITH A WORKABLE PROFILE,
OTHERWISE HE'S GONNA RELEASE
THE INFORMATION WE HAVE
TO THE PUBLIC.
SO LET'S
GO OVER IT AGAIN.
OKAY, WE'RE LOOKING FOR SOMEONE
WHO IS CRIMINALLY SOPHISTICATED,
STRONG, PATIENT, WHICH SUGGESTS
TO ME AN OLDER MALE,
PROBABLY IN HIS 40s.
Simmons: HUNTING FOR
THE RIGHT VICTIM TAKES TIME,
SO IT DOESN'T LOOK LIKE
HE HAS A JOB.
UNLESS THE GYPSY-CAB THING
IS LEGIT
AND HE'S ONLY STRIKING WHEN
THE VICTIM IS THE RIGHT TYPE.
YEAH, AND BASED ON
HIS STAGING OF THE BODIES
AT THE LAST CRIME SCENE,
IT APPEARS TO ME THAT KATHERINE,
BIANCA, AND SAMANTHA
ARE ALL SURROGATES
FOR OUR UNSUB'S TRUE TARGET,
AND THEIR MURDERS
ARE PROBABLY A MEANS
TO BUILD HIS COURAGE
AND CONFIDENCE
IN ORDER
TO COMMIT THE ULTIMATE ACT.
SO SOMEWHERE OUT THERE
IS AN AMERICAN WOMAN
WHO BROKE
THIS GUY'S HEART.
OR REJECTED HIM OR
COMMITTED SOME PERCEIVED SLIGHT
THAT HE NOW FEELS
THAT HE HAS TO REDRESS --
IN THE MOST BRUTAL WAY
POSSIBLE.
JACK?
♪♪
CLEMENT
IS DROPPING THE BOMB.
[ SIGHS ]
WE BELIEVE THAT THIS KILLER IS
HUNTING AMERICAN WOMEN...
IN HIS CAR.
HE'S DRIVING A BLACK PEUGEOT.
IF YOU SEE THIS CAR, PLEASE
AVOID THE DRIVER.
HE'S KILLED THREE WOMEN AND
IS STILL AT LARGE.
[ SPEAKING FRENCH ]
[ MAN SCREAMS ]
♪♪
[ HORN HONKS ]
[ INDISTINCT CONVERSATIONS ]
YOU WERE RIGHT.
HE ABANDONED HIS VEHICLE
IN ENTREPôT --
THE 10th ARRONDISSEMENT.
HE LEFT NOTHING BEHIND
FOR US.
I KNOW
YOU BELIEVE
I HAVE ALTERED THIS MONSTER'S
BEHAVIOR UNPREDICTABLY.
BUT I WOULD LIKE TO BELIEVE
I STALLED HIS PROGRESS.
HE WILL MOST CERTAINLY
NEED ANOTHER CAR
IN ORDER
TO MAINTAIN HIS DECEIT.
IF HE MAINTAINS
HIS DECEIT.
HE COULD JUST
GO INTO A TAILSPIN --
YOU NEED
TO DOUBLE DOWN.
CALL IN REINFORCEMENTS
IF YOU HAVE TO.
YOUR DEPARTMENT
NEEDS TO SHOW OVERWHELMING FORCE
ON THE STREETS
OF PARIS TONIGHT
AND EVERY NIGHT
UNTIL WE CATCH THIS MAN.
THIS UNSUB
NEEDS TO FEEL YOUR BREATH
ON THE BACK OF HIS NECK
AT ALL TIMES,
AND EVERY AMERICAN
WOMAN OUT THERE WHO
COULD BE HIS NEXT VICTIM
NEEDS TO FEEL LIKE THERE'S
A COP ON EVERY CORNER WHO'S
THERE TO PROTECT THEM.
I WILL DO
WHAT I CAN.
[ TELEPHONE RINGS ]
ALL RIGHT, WE NEED TO FOCUS
ON A POSSIBLE CONNECTION
BETWEEN OUR UNSUB
AND THE BOULANGER FAMILY
OR THIS CRAFTSMAN COMPANY
IN MARSEILLES.
AND WE NEED TO FIND SOME WAY
TO GET OUR HANDS ON HARD COPIES
OF ALL THOSE RECORDS
AND HISTORIES.
ALL RIGHT,
I'M ON IT.
THAT WAS FAST.
YOUR BOSS SAID I'D HAVE TO
WAIT 30 MINUTES.
Man: MADEMOISELLE,
DO YOU SPEAK ENGLISH?
ENGLISH?
YES.
ARE YOU AMERICAN,
BY CHANCE?
WHAT ARE YOU TALKING ABOUT?
I AM NOT AMERICAN. WHY?
[ TRUCK BEEPING ]
AY, AY, AY!
YOU WILL NOT HELP ME?
NO PROBLEM.
I CAN HELP.
[ WOMAN SINGING IN FRENCH ]
♪♪
♪♪
Clement: HER NAME IS
ALEXANDRA LAFAYETTE.
HER HUSBAND CAME HOME LAST NIGHT
AND STARTLED AN INTRUDER,
WHO ESCAPED.
BUT THAT'S
WHEN HE FOUND HER.
SHE'S FRENCH?
MY INSPECTORS
DIDN'T IMMEDIATELY CONNECT HER
WITH THE AMERICAN WOMEN
UNTIL THEY SAW THIS.
♪♪
Mae:
LOOKS LIKE A BUTTERFLY.
I DON'T UNDERSTAND.
HE FILLED HER STOMACH
FULL OF DEAD BUTTERFLIES.
YEAH, BUT IT DOESN'T LOOK LIKE
ANY KIND OF BUTTERFLY
I'VE EVER SEEN BEFORE.
HE DIDN'T TAKE THE TIME
TO STAGE HER BODY AT THE SCENE.
AS I SAID, MADAME LAFAYETTE'S
HUSBAND WALKED IN ON HIM.
YEAH, BUT HOW DID HE NOT
KNOW THAT SHE WAS LIVING
WITH HER HUSBAND?
I MEAN, DO YOU THINK THAT HE
DIDN'T HAVE A CHANCE TO ASK HER?
OR MAYBE
HE NO LONGER CARES.
WHY WOULDN'T HE CARE?
IT'S A TERRIBLE RISK.
BECAUSE MAYBE
HE DOESN'T HAVE TIME TO CARE
IF HIS VICTIMS
ARE AMERICAN OR FRENCH.
AND NOW
ANY VULNERABLE WOMAN WILL DO.
HE HAS TO FINISH WHAT HE STARTED
BEFORE IT'S TOO LATE.
TOO LATE FOR WHAT,
MADEMOISELLE?
WELL, FOR ONE THING,
HE KNOWS THAT WE'RE ON TO HIM.
AND IT'S JUST A MATTER OF TIME
BEFORE WE SHUT HIM DOWN, RIGHT?
RIGHT, BUT I THINK THERE'S
SOMETHING ELSE APPLYING
PRESSURE TO HIM,
FORCING HIM TO ACCELERATE
HIS MISSION,
ITS STATEMENT.
AND THIS TIME, IT'S HIS
BUTTERFLIES IN THE STOMACH.
THAT IS
WHAT HE WAS TRYING TO SAY.
I THINK WE'VE BEEN
LOOKING AT THESE MURDERS
LIKE THEY'RE JUST
REHEARSALS.
BUT MAYBE
THEY'RE THE MAIN EVENT.
HOW DO YOU FIGURE?
I THINK OUR VISCERAL REACTION
TO THE BRUTALITY HERE
IS KEEPING US
FROM SEEING THE SCENE
FROM THE UNSUB'S
POINT OF VIEW.
I HAVE BUTTERFLIES
IN MY STOMACH.
I HAVE MY HEART
IN MY HANDS.
I LOST MY HEAD.
♪♪
AND I AM BLINDED
BY LOVE.
THIS IS NOT LOVE.
THIS IS VICIOUS
AND CRUEL.
YES, BUT, YOU SEE, THEY
AREN'T EITHER OF THOSE
THINGS TO OUR UNSUB.
TO HIM, THESE CRIME SCENES
ARE A WAY
FOR HIM TO TRY
AND EXPRESS HIMSELF.
YEAH, AND YOU THINK THAT
HE'S TRYING TO EXPRESS HIMSELF
TO THIS IDEALIZED
AMERICAN WOMAN?
I DO.
I THINK HE IS TRYING TO TELL HER
HOW SHE MAKES HIM FEEL.
IT'S LIKE A SERIES OF SICK,
TWISTED VALENTINES.
SO YOU DON'T THINK
SHE'S A TARGET.
I THINK SHE'S
THE OBJECT OF HIS AFFECTIONS,
AND HE WILL TRY AND REACH OUT
TO HER FOR SURE.
BUT IF AND WHEN SHE REJECTS
HIS AFFECTIONS...
HE WILL FEEL BETRAYED
BY LOVE
AND ULTIMATELY
LASH OUT ON HER.
LET US PRESUME YOU'RE CORRECT,
AGENT SEGER.
IF WE CAN'T FIND
THIS MAN,
PERHAPS WE FIND
THIS WOMAN.
I JUST KNOW IF SHE WILL BE
ANY EASIER TO FIND THAN HIM.
YEAH, BUT LET'S NOT FORGET ABOUT
THESE GUYS HERE.
I MEAN...
SOMETHING TELLS ME THAT THIS
BUTTERFLY EFFECT MAY JUST --
HOW DID YOU SAY IT,
COMMISSAIRE CLEMENT?
SHAKE THE FRUIT
OUT OF THE TREE?
♪♪
MONTY: Say hello
to my little friend.
UDASPES FOLUS -- A.K.A.
THE GRASS DEMON BUTTERFLY.
NOT ONLY DOES HE NOT NORMALLY
RESIDE IN YOUR INTESTINES,
BUT HE'S A NON-NATIVE
TO THE EUROPEAN CONTINENT.
HE PREFERS INDIA
AND SOUTHEAST ASIA.
SO OUR UNSUB EITHER GETS HOLD
OF THESE DEMON BUTTERFLIES
BY IMPORTING THEM
OR STEALING THEM.
LET'S GO WITH
WHAT'S BEHIND DOOR NUMBER TWO.
IMPORT RECORDS SHOW A DELIVERY
WAS MADE TO THE PARIS AREA
ABOUT NINE MONTHS AGO,
TO MAISON DES PAPILLONS,
WHICH IS LITERALLY
"HOUSE O' BUTTERFLIES."
THEN ABOUT A WEEK AGO,
A TRESPASSING CHARGE WAS FILED
AND THEN DROPPED
AGAINST A 42-YEAR-OLD MAN
NAMED PAUL MOSSIER.
WAIT A SECOND.
THAT NAME SOUNDS FAMILIAR.
THAT LAST NAME --
MOSSIER.
WHEN I FOLLOWED UP
WITH THE BOULANGER FAMILY
AND WHAT'S BECOME
OF THE LE LION DE L'EAU COMPANY,
THERE WAS A DISPUTE
OVER INHERITANCE
THAT WAS FILED 20 YEARS AGO
BY KILLIAN MOSSIER.
COULD BE AN UNCLE
ON MADAME BOULANGER'S SIDE.
I'M NOT BIG
ON COINCIDENCE.
YEAH, RIGHT.
AND IF PAUL IS CONNECTED
TO THE FAMILY,
THEN THAT'S HOW
HE GETS THE MURDER WEAPONS.
MONTY, WHAT ELSE CAN YOU TELL US
ABOUT THIS PAUL MOSSIER?
HE'S GOT
A BIT OF A RECORD
DATING BACK
THE LAST SEVERAL YEARS.
VARIOUS ASSAULTS,
DISORDERLY CONDUCT.
THEN IT SAYS HERE
THAT FOLLOWING
AN ATTEMPTED ASSAULT
ON A POLICE OFFICER,
PAUL MOSSIER WAS REMANDED
TO A PSYCHIATRIC HOSPITAL.
HE'S SUPPOSED TO BE
AN IN-PATIENT
AT L'INSTITUT DU PINEL.
CLARA AND I
WILL CHECK IT OUT...
WHILE YOU TWO STAY HERE
AND TRY TO IDENTIFY
THE AMERICAN WOMAN WHO'S THE
FOCUS OF OUR UNSUB'S ATTENTION.
♪♪
BONJOUR.
BONJOUR.
JE SUIS
L'OFFICIER SEGER.
C'EST L'UNITé
DU CHEF GARRETT.
NOUS SOMMES
DU FBI.
NOUS AIMERIONS PARLER
AVEC MONSIEUR PAUL MOSSIER.
[ SPEAKS FRENCH ]
EXCUSE ME.
YOU ARE LOOKING
FOR PAUL?
THAT'S RIGHT.
AND YOU ARE?
DR. ALAIN GILLES, CLINICAL
DIRECTOR OF BEHAVIORAL HEALTH.
IS PAUL MOSSIER
A PATIENT HERE?
I'M SORRY, BUT, UH, WHY DOES
THE FBI WANT TO SPEAK TO HIM?
HIS NAME'S COME UP WITH REGARDS
TO AN ONGOING INVESTIGATION.
YOU THINK
HE HAS SOMETHING TO DO
WITH THE AMERICAN WOMEN
WHO HAVE BEEN MURDERED.
WE NEED
TO SPEAK TO HIM.
PAUL WAS RELEASED FROM OUR
SUPERVISION OVER TWO WEEKS AGO.
WHEN HE WAS REMANDED
TO THIS FACILITY,
WHAT WAS
HIS DIAGNOSIS?
I'M TRULY NOT AT LIBERTY
TO SHARE THOSE DETAILS WITH YOU.
WERE YOU
HIS PRIMARY THERAPIST?
YES,
MYSELF AND DR. BERNARD.
BUT TO BE HONEST,
PAUL SHOWED THE GREATEST
SIGNS OF IMPROVEMENT
OVER THE LAST MONTHS
WHILE WORKING WITH
ONE OF OUR VOLUNTEERS.
SHE, UH,
USED ART THERAPY.
Jack:
IS THIS HER?
YES. HER NAME
IS AMY WALLACE.
AMY'S AN AMERICAN,
ISN'T SHE?
YES, SHE IS.
MAY WE SPEAK
WITH HER?
UNFORTUNATELY,
SHE IS NO LONGER HERE.
SHE LEFT
ABOUT A MONTH AGO.
♪♪
DID SHE SEE THIS
BEFORE SHE LEFT?
NO.
PAUL TOOK HER ABSENCE
VERY HARD.
HE COMES FROM
A FAMILY OF CRAFTSMEN,
BUT DUE TO HIS STRUGGLES
WITH MENTAL HEALTH,
THEY REJECTED HIM.
AMY WAS PROBABLY
THE FIRST PERSON
TO HELP HIM REALIZE
HIS POTENTIAL.
BUT THIS HOSPITAL
FELT COMFORTABLE RELEASING HIM
DESPITE HIS KNOWN
AGGRESSIVE TENDENCIES
AND THIS SUGGESTION
OF A VIOLENT FANTASY?
IT'S NOT
WHAT I WOULD HAVE PREFERRED,
BUT PAUL
HAD IMPROVED ENOUGH
THAT WE COULD NO LONGER
HOLD HIM INVOLUNTARILY.
DO YOU KNOW IF PAUL TRIED TO
CONTACT AMY AFTER HIS RELEASE?
AS A MATTER OF FACT,
HE DID, YES.
HE ASKED
FOR HER ADDRESS.
AND THAT'S WHEN SOMEONE
MENTIONED THAT SHE HAD
GOTTEN ENGAGED
AND THAT SHE WAS RETURNING
TO THE UNITED STATES.
BUT YOU DON'T KNOW IF OR WHEN
SHE RETURNED TO THE U.S.?
NO, I DO NOT,
I'M SORRY.
THANK YOU,
DOCTOR.
SURE.
THANK YOU.
WE NEED TO FIND
AMY WALLACE -- NOW.
♪♪
PAUL?
BONJOUR, AMY.
I DIDN'T KNOW
YOU KNEW WHERE I LIVED.
WELL, I APOLOGIZE
FOR NOT CALLING
BEFORE DROPPING BY
LIKE THIS.
NO, IT'S FINE.
I...
JUST THOUGHT
YOU WERE THE MOVERS.
THEY'RE ALREADY AN HOUR LATE,
AND I'M MOVING BACK HOME.
OH.
BUT IT'S REALLY GOOD
TO SEE YOU.
IT'S REALLY GOOD
TO SEE YOU, TOO.
SORRY I HAVEN'T HAD A CHANCE
TO VISIT.
IT'S BEEN
A BUSY TIME.
WELL...
I'M NO LONGER A PATIENT
AT THE HOSPITAL.
WONDERFUL.
[ CHUCKLES ]
AND YOU'RE STILL WORKING ON
THE THINGS WE WERE FOCUSED ON?
OH, YES, I HAVE.
I-I NEED
TO SHOW YOU SOMETHING.
OKAY.
UH, BUT, UH,
IT'S NOT HERE.
SO I NEED TO TAKE YOU --
TO SEE IT.
PAUL, LIKE I SAID,
I CAN'T LEAVE.
I'M STILL WAITING
FOR THE MOVERS.
I...
I'VE BEEN WORKING
REALLY HARD, AMY.
PLEASE...
COME...
WITH ME.
OKAY.
LET ME
JUST GRAB MY COAT.
OKAY.
[ SCREAMING ]
[ GASPING ]
PAUL,
STOP, STOP!
PLEASE.
I'M NOT
GOING TO HURT YOU.
I PROMISE.
WE'RE JUST PLAYING
LE JEU D'éVANOUISSEMENT.
IT'S A FAINTING GAME.
GOOD NIGHT,
MY LOVE.
♪♪
[ INDISTINCT CONVERSATION ]
MY INSPECTORS HAVE SEARCHED THE
BUILDING AND OUTER PERIMETER.
THERE'S NO SIGN OF PAUL MOSSIER
OR AMY WALLACE.
NO SIGN
OF A STRUGGLE.
I'M NOT SURPRISED.
IF WE'RE RIGHT,
AT THIS MOMENT,
PAUL'S INTENTION
IS NOT TO HURT AMY,
BUT TO TRY AND IMPRESS HER
WITH WHAT HE'S DONE.
SO HE WOULD HAVE
INCAPACITATED HER
IN ORDER TO TRANSPORT HER
SOMEPLACE HE FEELS SAFE
AND COMFORTABLE.
I CANNOT BELIEVE HIS INTENTION
IS NOT TO KILL HER.
SHE COULD
ALREADY BE DEAD
AND HE'S TAKEN HER BODY
SOMEWHERE TO POSE IT.
BELIEVE IT OR NOT, PAUL'S
ACTUALLY TRYING TO WOO AMY,
WHICH MEANS WE HAVE TIME,
BUT YOU ARE RIGHT.
EVENTUALLY,
AMY WILL SEE WHAT PAUL HAS DONE,
AND SHE WILL
ABSOLUTELY REJECT HIM.
AND THAT'S
WHEN HE KILLS HER.
THE QUESTION IS,
WHERE DID HE TAKE HER?
[ CELLPHONE RINGS ]
[ CELLPHONE BEEPS ]
SIMMONS,
WHAT DO YOU GOT?
AT 2:37 P.M.,
ALEXANDRA LAFAYETTE
CALLED FOR ROADSIDE ASSISTANCE.
When the tow-truck driver
finally showed up,
HE SEES ANOTHER TOW TRUCK
HAULING AWAY APPEARS TO BE
ALEXANDRA'S VEHICLE.
MAE: That was under the bridge
near the Rue de l'étoile,
AND MONTY'S GOT A HOOK UP
TO THE CCTV CAMERAS
AT THE INTERSECTION RUNNING BOTH
NORTH AND SOUTH OF THERE.
LET ME PATCH YOU IN,
BOSS.
I WAS ABLE TO SPOT OUR UNSUB'S
NEW RIDE, WHICH IS A TOW TRUCK,
AND HE'S CLEARLY GOT
ALEXANDRA'S CAR HOOKED UP TO IT.
HE'S HEADING NORTHBOUND
ON THE RUE D'éTOILE.
But I ran
all the CCTV footage.
I LOST THEM
HEADING NORTH-NORTHEAST
TOWARD
THE TREMBLAY-EN-FRANCE.
I DON'T THINK HE'D
TAKE HER COMPLETELY
OUT OF THE CITY, JACK.
THAT'S A PRETTY INDUSTRIAL AREA.
IT'S A GOOD PLACE TO LAY LOW.
BUT THERE'S NO RECORD
OF A PAUL MOSSIER
OWNING OR LEASING PROPERTY
OUT IN THAT AREA.
SIMMONS: Well,
it's got to be connected
to Killian Mossier
somehow.
MAE AND I
WILL CHECK THE RECORDS AGAIN.
WE NEED TO SET UP A COMMAND POST
OUT NEAR THE AIRPORT.
[ JAZZ MUSIC PLAYS ]
[ WOMAN SINGING IN FRENCH ]
[ GASPS ]
PAUL?
WHERE AM I?
[ SPEAKING FRENCH ]
[ BREATHING HEAVILY ]
[ SPEAKING FRENCH ]
[ SCREAMS ]
AAH!
[ SCREAMS ]
NO!
[ WHIMPERING ]
[ SPEAKING FRENCH ]
THAT'S WHY I NEED YOU TO SEE
EVERYTHING I'VE DONE, OKAY?
HERE. HERE.
Monty: ACCORDING TO THOSE FILES
YOU SCANNED FOR ME,
THE MOSSIER CLAN IS LIKE
SOME WITHERING BASTARD BRANCH
OF THE BOULANGER FAMILY TREE.
BUT THE MOSSIERS --
OR WHAT'S LEFT OF THEM --
THEY HELD TITLE
TO FIVE SEPARATE HOLDINGS
ON THE OUTSKIRTS
OF PARIS.
FROM MEAUX
ALL THE WAY TO PLAISIR.
JACK AND CLARA ARE GETTING
PRETTY CLOSE TO THAT ONE
PROPERTY IN VILLEPINTE.
WE HAVE LOST
OUR SENSE OF HISTORY.
THEY ARE CALLING ME
THE BUTCHER OF PARIS.
THAT NAME WAS GIVEN
TO MARCEL PETIOT.
HE WAS A DOCTOR
WHO KILLED 23 PEOPLE
DURING
WORLD WAR II.
HE WAS
A BUTCHER.
AND MOI?
I AM...
AN ARTISTE.
I TOOK FLESH AND BONE
AND MADE THEM, UH...
TRANSCENDENT.
BUT NONE OF THIS WOULD BE
POSSIBLE WITHOUT YOU.
YOU ARE MY MUSE,
AMY.
BECAUSE OF YOU,
I AM TRANSCENDENT.
YOU'VE ALWAYS
BEEN SPECIAL, PAUL.
[ CHUCKLES ]
BUT I COULDN'T SEE THAT
BEFORE YOU.
I KNOW.
[ MUSIC CONTINUES ]
YOU KNOW...
WHEN I WAS
A LITTLE BOY,
MY FATHER TRIED TO TEACH ME
HOW TO CARVE THE WOOD.
[ SIGHS ]
HE GOT FRUSTRATED
AND BURNED MY HAND
WITH HIS CIGARETTE.
TOLD ME
I WAS NOT HIS BLOOD.
I...I AM SO SORRY.
WILL YOU PLEASE
LET ME GO, PAUL?
I CAN'T.
YEAH.
YES,
YOU CAN.
NO, NO, AMY.
WITHOUT YOU,
I AM NOTHING.
I LOVE YOU,
AMY.
JE T'AIME.
[ WHIMPERS ]
YOU UNDERSTAND
WHAT I'VE DONE, DON'T YOU?
I DO.
[ CHUCKLES ]
♪♪
HOW DO
YOU LIKE IT?
[ SHUDDERED BREATHING ]
♪♪
JACK,
THE FRENCH NATIONAL POLICE
HAVE DETAINED KILLIAN MOSSIER
IN TOULOUSE.
HE HAS CONFIRMED THAT HIS NEPHEW
HAS TAKEN POSSESSION
OF THE PROPERTY
YOU'RE HEADING TO NOW.
JACK: Does he know
if his nephew
has stockpiled
any other weapons?
HE KNOWS
THAT HIS NEPHEW'S CRAZY.
I...
[ SHUDDERED BREATHING ]
I CAN'T BELIEVE
YOU DID THAT.
ALL THOSE WOMEN,
PAUL?
OH.
JE SUIS DéSOLé.
OH, SORRY?
YOU'RE DISGUSTING.
♪♪
YOU'RE SICK.
YOU'VE ALWAYS
BEEN SICK.
♪♪
[ SPEAKS FRENCH ]
HUH?
[ YELLING IN FRENCH ]
[ GRUNTING ]
♪♪
TU EST...
UNE SALOPE...
♪♪
...SANS COEUR!
♪♪
[ GRUNTS ]
[ GROANS ]
[ BREATHING HEAVILY ]
♪♪
I'M SORRY,
AMY.
[ SOBBING ]
[ GUNSHOT ]
♪♪
[ PANTING ]
♪♪
PUT IT DOWN,
PAUL!
NOW!
♪♪
[ SOBBING ]
♪♪
[ WOMAN SINGING IN FRENCH ]
[ SINGING CONTINUES ]
YOU KNOW WHAT?
THIS IS ONE TIME
THAT I AM KIND OF OKAY WITH
THE MECHANICAL DELAY
ON THE JET.
THIS IS
A BEAUTIFUL CITY.
YES,
IT IS.
IT'S HARD SOMETIMES
TO APPRECIATE THE BEAUTY.
YEAH,
WE GOT TO FIND IT -- SOMEHOW.
OTHERWISE, I DON'T THINK WE
COULD DO THE JOB WE NEED TO DO.
YEAH, EVEN THE DARKEST NIGHT
WILL END, AND THE SUN WILL RISE.
TO BEAUTY --
WHEREVER
WE MAY FIND IT.
♪♪
OVER 68 MILLION AMERICANS
LEAVE THE SAFETY
OF OUR BORDERS EVERY YEAR.
IF DANGER STRIKES,
THE FBI's
INTERNATIONAL RESPONSE TEAM
IS CALLED INTO ACTION.
[ FRENCH MUSIC PLAYS ]
[ INDISTINCT CONVERSATIONS ]
OH, YOU GUYS GO AHEAD.
I THINK I'M GOING TO WALK BACK.
[ SCOFFS ]
YOU'RE CRAZY.
YOU'RE LIKE OVER A MILE
FROM YOUR APARTMENT.
ARE WE FORGETTING
MY THREE-MILE MORNING JOGS?
DESPITE
WHAT THE FRENCH THINK,
ALL AMERICANS
AREN'T FAT AND LAZY.
SAM, ARE YOU SURE?
IT'S KIND OF LATE.
LADIES,
WE'RE IN PARIS.
IT'S A BEAUTIFUL NIGHT,
AND YOU WANT TO SQUEEZE YOURSELF
ONTO A SUBWAY TRAIN WITH A CAR
FULL OF DES éTRANGERS?
YEAH.
SOMEBODY HAS WATCHED
"MOULIN ROUGE!"
WAY TOO MANY TIMES!
COME ON!
WHO'S COMING WITH ME?
SAM, I LOVE
YOUR BOHEMIAN SOUL AND ALL,
BUT MY SOLES
ARE HURTING LIKE HELL.
NO WAY I'M WALKING ACROSS TOWN
IN THESE SHOES.
QUEL DOMMAGE.
[ SMOOCHES ]
[ CHUCKLES ]
♪♪
[ HORN HONKS IN DISTANCE ]
OH. DAMN IT.
[ GROANS ]
[ SIREN WAILS IN DISTANCE ]
[ VEHICLE APPROACHES ]
[ BRAKES SQUEAL ]
MADEMOISELLE,
çA VA?
çA VA, MERCI.
UH...
[ CHUCKLES ]
I JUST COMPLETELY FORGOT
HOW TO SAY, "I BROKE MY HEEL."
"JE CASSé
MON TALON."
OF COURSE,
YOU SPEAK ENGLISH.
UN PEU. [ French accent ]
UH, MAY I HELP YOU, MISS?
NO,
I'M GOOD.
THANK YOU.
MERCI.
WELL, YOU SURE
I CAN'T OFFER YOU A RIDE?
I CAN TAKE YOU
ANYWHERE YOU LIKE.
Jack:
SAMANTHA WADE.
ELEMENTARY-SCHOOL TEACHER
FROM NASHVILLE, TENNESSEE,
FOUND THIS MORNING
BY TWO OF HER FRIENDS.
MURDERED AND STAGED IN
THE APARTMENT SHE'D BEEN LEASING
FOR THE PAST THREE WEEKS.
Due to the brutal
and provocative nature
of Samantha Wade's
murder,
our ambassador
and the French foreign minister
have requested
the I.R.T.'s assistance
in the homicide investigation.
AND GIVEN THAT ABOUT TWO MILLION
AMERICANS VISIT PARIS PER YEAR,
NOT TO MENTION AN ADDITIONAL
50,000 ON WORK VISAS,
I'D BET
THEY'D ALSO LIKE US
TO DRAW UP A THREAT ASSESSMENT
TO U.S. CITIZENS.
WELL, THERE'S NOTHING
MORE THREATENING THAN THIS.
WHAT ARE THESE THINGS
IN HER EYES?
FRENCH INVESTIGATORS
HAVE IDENTIFIED THEM
AS TIMBER SCRIBES.
BLADED INSTRUMENTS USED BY LAND
SURVEYORS TO INSCRIBE TREES.
NOT EXACTLY
YOUR GO-TO MURDER WEAPON.
ESPECIALLY IN
AN URBAN ENVIRONMENT.
These tools are really old --
pre-World War I.
NO PRINTS, SO THEY'RE NOT
GONNA HELP US NARROW DOWN
OUR UNSUB'S CURRENT OCCUPATION.
YEAH,
BUT THESE SCRIBES
AREN'T EXACTLY
THE MURDER WEAPONS, EITHER.
I MEAN,
EVEN FROM THESE PHOTOS,
YOU CAN SEE
THAT THE OCULAR INJURIES
AREN'T
HER CAUSE OF DEATH.
BUT I DON'T SEE AN OFFICIAL
AUTOPSY REPORT HERE, MONTY.
The autopsy is being performed
by the Paris coroner
as you guys
sail over the Atlantic.
IT SAYS HERE
THAT LATE LAST NIGHT,
SAMANTHA HAD DINNER
WITH THE SAME TWO FRIENDS
WHO FOUND HER THIS MORNING --
SHEILA MARTIN AND RENEE ALSTON.
ACCORDING TO THEM,
SHE CHOSE TO WALK HOME
WHILE THEY TOOK THE METRO TRAIN.
YEAH, AND THAT WAS AROUND
12:30 A.M. LOCAL TIME.
SO SAMANTHA COULD HAVE EASILY
BEEN FOLLOWED HOME.
Jack: SURE.
BUT THERE WERE NOT SIGNS OF
FORCED ENTRY INTO HER APARTMENT.
SO IT'S POSSIBLE
THAT SHE KNEW
OR WAS FAMILIAR WITH
HER ATTACKER.
Except
that the French investigators
are interviewing all of her
known friends and associates,
including Sheila and Renee.
EVERYBODY'S ALIBI
IS CHECKING OUT.
WHICH MEANS SAMANTHA'S ASSAILANT
MIGHT HAVE PRESENTED IN A WAY
THAT FELT COMFORTABLE
TO HER.
WELL, SAFE ENOUGH
TO OPEN THE DOOR.
Clara: WELL,
THERE'S ALSO THIS FRENCH SAYING,
SE METTRE LE DOIGT
DANS L'OEIL,
WHICH MEANS
TO PUT YOUR FINGER IN YOUR EYE.
IT'S THE FRENCH EQUIVALENT OF
PUTTING YOUR FOOT IN YOUR MOUTH.
AS IN
TO MAKE A MISTAKE.
A MISTAKE THAT,
OBVIOUSLY,
SOMEONE FELT
SAMANTHA HAD TO PAY FOR.
Jack:
GOT TO BE MORE TO IT.
I MEAN,
THIS STAGING IS SO EXTREME.
IT'S LIKE HE'S PICTURED IT
IN HIS MIND'S EYE FOR A WHILE,
AND NOW HE'S BRINGING IT
TO LIFE.
WELL,
IF THAT'S THE CASE, JACK,
ALL OF THIS PREPARATION
AND EFFORT,
HE'S DEFINITELY
GOT A TASTE FOR IT NOW.
[ CONVERSING IN FRENCH ]
♪♪
BON APRèS-MIDI.
♪♪
[ HORN HONKS IN DISTANCE ]
[ KNOCKING ON DOOR ]
JUST A SEC!
[ HORN HONKS IN DISTANCE ]
[ SPEAKING FRENCH ]
Man:
PARDON ME, MADEMOISELLE.
YOU LEFT
SOMETHING BEHIND.
[ GASPS ]
♪♪
[ GASPING ]
♪♪
NO, PLEASE!
N'AYEZ PAS PEUR.
CESERA BEINTôT.
DO NOT BE AFRAID.
IT WILL BE OVER SOON.
♪♪
[ HORN HONKS ]
♪♪
"THE BONDS BETWEEN OURSELVES
AND ANOTHER PERSON
EXIST ONLY IN OUR MINDS."
MARCEL PROUST.
[ TELEPHONES RINGING ]
[ INDISTINCT CONVERSATIONS
IN FRENCH ]
YOU MUST BE FROM THE FBI,
NO?
YES,
WE ARE.
I'M UNIT CHIEF
JACK GARRETT.
THESE ARE SUPERVISORY
SPECIAL AGENTS
SEGER, JARVIS,
AND SIMMONS.
AND YOU ARE?
COMMISSAIRE PIERRE CLEMENT,
LEAD INSPECTOR,
POLICE JUDICIAIRE.
IF YOU WOULD FOLLOW ME,
PLEASE.
I'M NOT FLUENT
IN THESE JOINT OPERATIONS,
SO YOU MUST FORGIVE ME
IF I DON'T APPRECIATE HAVING,
HOW YOU SAY,
MY HAND HELD.
COMMISSAIRE CLEMENT, WE ARE NOT
HERE TO HOLD YOUR HAND,
JUST LEND OUR EXPERTISE
AND EXPERIENCE.
BIEN SUR.
DURING YOUR FLIGHT,
ANOTHER WOMAN WAS FOUND --
STAGED
IN HER APARTMENT.
INSTEAD OF MUTILATING THE EYES,
HE CUT OFF HER HEAD.
TOOK IT WITH HIM.
ANOTHER
AMERICAN WOMAN?
OUI.
WE HAVE MADE
AN IDENTIFICATION.
Simmons: BIANCA LEWIS,
37 YEARS OLD,
WORK VISA SAYS SHE WAS EMPLOYED
AS A PUBLICIST.
LIVING IN PARIS
FOR ABOUT 18 MONTHS.
IS THERE ANY CONNECTION BETWEEN
BIANCA LEWIS AND SAMANTHA WADE?
NONE THAT MY INSPECTORS HAVE
BEEN ABLE TO ESTABLISH THUS FAR.
WE'LL FOLLOW UP
WITH VICTIMOLOGY BACK HOME.
BUT RIGHT NOW,
ALL WE KNOW
IS SAMANTHA
WAS A TOURIST
AND BIANCA WAS A TEMPORARY
NON-IMMIGRANT WORKER.
STILL, FEMALE AMERICAN --
BOTH STAYING IN THE
18th ARRONDISSEMENT.
MONTMARTRE --
PART OF THE RIGHT BANK IN
THE NORTHERN SECTION OF CITY.
HEY, GUYS,
TAKE A LOOK AT THIS.
[ WOMAN SPEAKING FRENCH ]
SOMEBODY HAS BEEN SERIOUSLY
OVER-SHARING WITH THE PRESS.
WELL, THAT WOULD BE ME,
MADEMOISELLE.
IN MY EXPERIENCE,
SHARING WITH OUR JOURNALISTS
OFTEN HAS A WAY OF...SHAKING
THE FRUIT OUT OF THE TREE.
AND SMACKING YOU ON THE HEAD,
RIGHT?
LET'S JUST SAY THAT YOUR FAITH
IN THE PRESS CORPS
IS A LITTLE STRONGER
THAN OURS.
SO, I'VE ARRANGED FOR YOU
TO WORK OUT OF THIS ROOM.
AND COPIES
OF ALL OUR REPORTS
WILL BE MADE AVAILABLE
AS SOON AS WE --
ACTUALLY, I'LL NEED TO VISIT
THE BIANCA LEWIS CRIME SCENE
WITH
AGENT SIMMONS HERE.
I'LL ALSO NEED AGENT JARVIS
TO REVIEW THE AUTOPSY FINDINGS
WHILE AGENT SEGER
LOOKS OVER THE EVIDENCE
COLLECTED AT
THE SAMANTHA WADE SCENE.
ANYTHING ELSE YOU REQUIRE,
SIR?
NO,
THAT'S IT.
FOR NOW.
TRES BIEN.
♪♪
LET'S GET TO WORK.
Jack: JUST LIKE
AT SAMANTHA'S APARTMENT.
BIANCA'S BODY
WAS POSED
IN THE SAME AREA OF THE ROOM
AS SAMANTHA'S,
THE SAME
SITTING POSITION...
WITH ALL THE VIOLENCE
CONCENTRATED RIGHT HERE.
EVERYTHING ELSE LOOKS
PRETTY UNDISTURBED.
LIKE BIANCA HAD JUST
COME HOME FROM GROCERY SHOPPING.
Simmons: THESE BAGS
ARE PRETTY FULL, THOUGH.
MAYBE SOMEBODY HELPED HER
CARRY THEM UP THE STAIRS.
WHAT ARE YOU THINKING,
JACK?
NO ARTERIAL SPRAY.
HE KILLED HER
BEFORE HE REMOVED HER HEAD.
POSTMORTEM MUTILATION.
IT'S LIKE WHAT MAE SAID
ABOUT SAMANTHA'S EYES.
♪♪
YOU THINK HE TOOK THE HEAD
AS A TROPHY?
IT'S HARD TO SAY.
MAYBE HE THOUGHT
IN THIS CASE,
HAVING A SEVERED HEAD
LYING AROUND
WOULD JUST
CONFUSE HIS MESSAGE.
WELL,
I'M CONFUSED.
WE HAVE ONE WOMAN
WITH GOUGED EYES,
ANOTHER
WITH NO HEAD.
WHAT THE HELL'S
HE TRYING TO SAY,
BESIDES, "I'M A SICK,
MISOGYNISTIC SON OF A BITCH"?
THE STAGING AT BOTH SCENES
WAS DELIBERATE, COMPLICATED.
IT WOULD HAVE TAKEN
A LOT OF TIME.
AND YET OUR UNSUB HAD NO FEAR
OF INTERRUPTION OR DISTRACTION.
BECAUSE YOU THINK
THAT HE KNEW
THEY WERE STAYING
IN THESE APARTMENTS ALONE.
WHICH WOULD SUGGEST THAT
EVEN IF SAMANTHA AND BIANCA
DIDN'T KNOW EACH OTHER,
THEY MIGHT HAVE KNOWN
THE UNSUB.
EXCEPT HE'S COMPLETELY
OBJECTIFIED HIS VICTIMS.
IT'S A LOT HARDER
TO OBJECTIFY SOMEONE
YOU'VE HAD
A RELATIONSHIP WITH...
RATHER THAN
A STRANGER.
SO HOW DO YOU GET TO
KNOW SOMEONE WITHOUT
REALLY KNOWING THEM?
[ SIGHS ]
ALL RIGHTY.
THREE YEARS OF COLLEGE FRENCH,
DON'T FAIL ME NOW.
OKAY.
"L'AGRESSION
à COUP DE COUTEAU..."
"THE SHARP-FORCE INJURY
TO EACH EYE OCCURRED..."
"...APRèS LA MORT."
"POSTMORTEM."
GOOD CALL, JARVIS.
"WITH SAMANTHA'S CAUSE DE DéCèS
ACTUALLY BEING ETRANGLEMENT."
STRANGULATION,
BROKEN HYROID BONE.
WHILE BIANCA'S CAUSE OF DEATH
IS...
ALSO ETRANGLEMENT, WOW.
OKAY, "AVANT LA MORT..."
"ANTEMORTEM CONTUSIONS
SUGGEST MANUAL STRANGULATION
PRIOR TO THE CRUDE
DISARTICULATION OF THE HEAD."
HOLD ON.
"ALSO RECOVERED
A FRAGMENT OF METAL,
POSSIBLY A PIECE OF
L'ARME DU CRIME."
THE MURDER WEAPON.
OH, WAY TO BURY THE LEDE, GUYS.
♪♪
[ COMPUTER BEEPING ]
♪♪
WEIRD.
[ CELLPHONE CLICKS ]
QUOI DE NEUF,
MON CHER AMI?
HEY, I NEED YOU
TO RUN SOME EVIDENCE FOR ME.
OKAY, BUT YOU DO KNOW
THAT THE FRENCH
PRETTY MUCH INVENTED
FORENSIC SCIENCE, RIGHT?
YEAH. GIVE OR TAKE
A HUNDRED YEARS.
I'M JUST SAYING THAT THEY'VE GOT
A PRETTY GOOD CRIME LAB
RIGHT THERE
IN PARIS.
SO THE CORONER
WAS ABLE TO RECOVER
A PIECE OF THE MURDER WEAPON
FROM BIANCA'S BODY,
AND I KNOW
THAT THEY'RE GONNA MASS-SPEC
THE YOU-KNOW-WHAT
OUT OF IT.
But there is this weird piece
of this symbol on it.
THESE CURVY, WAVY LINES
LOOK LIKE I GOT SOME WORK TO DO.
SO SAMANTHA HAD DINNER
WITH HER FRIENDS
HERE IN THE
10th ARRONDISSEMENT.
AND THEN SHE WALKED BACK TO
HER APARTMENT HERE IN THE 18th.
WE HAVE YET TO DETERMINE
THE PRECISE ROUTE,
SO A BROAD SEARCH
OF CCTV FOOTAGE
HAS TURNED UP
NOTHING YET.
HOWEVER...
IT WOULD APPEAR
SHE ARRIVED HOME,
AND THEN
SOME TIME LATER,
SHE INVITED THE INTRUDER
INSIDE THE PREMISES.
THAT'S A VERY LONG WAY
TO WALK IN THOSE HEELS.
THAT'S WHAT
HER FRIENDS THOUGHT, TOO.
ONE OF THE HEELS
IS BROKEN.
SNAPPED OFF IN THE STRUGGLE
WITH HER ASSAILANT, TO BE SURE.
ARE YOU SURE?
DID YOU SEE
THIS RESIDUE?
I DID NOT PERSONALLY PROCESS
THE VICTIM'S CLOTHES, NO.
BUT I'M NOT SURE
HOW GRAVEL WOULD BE PROBATIVE.
IT'S NOT GRAVEL.
DO YOU SEE HOW IT SORT OF
SHIMMERS IN THE LIGHT?
THIS IS
EPOXY MORTAR.
IT'S USED TO SET, AMONG
OTHER THINGS, COBBLESTONES --
LIKE THE ONES
IN SOME OF YOUR FAMOUS
LITTLE STREETS AROUND HERE.
AGENT SEGER,
THOSE COBBLESTONE STREETS
ARE HUNDREDS
OF YEARS OLD.
EXACTLY.
THAT'S WHY PEOPLE TRAVEL ALL
OVER THE WORLD TO WALK ON THEM.
THE DIRTY LITTLE SECRET
IS SOME OF THOSE STONES
ARE NOT
NEARLY AS OLD AS ADVERTISED.
BIEN SUR,
THEY REQUIRE MAINTENANCE.
AND SOME OF THEM
EVEN NEED TO BE REPLACED.
THAT'S WHERE
THE EPOXY MORTAR COMES IN.
48 HOURS AGO,
SAMANTHA TOOK A WALK
ON A FRESHLY PAVED
COBBLESTONE STREET,
SOMEWHERE BETWEEN THE RESTAURANT
AND HER APARTMENT.
THAT'S WHEN
SHE BROKE HER HEEL.
AND SHE WALKED HOME
FROM THERE.
BUT SHE DIDN'T.
LOOK AT THE AUTOPSY PHOTOS
OF HER FEET.
THERE'S NO SCRATCHES,
NO DIRT --
NOTHING TO SUGGEST THAT
SHE WALKED BAREFOOT ANYWHERE.
SHE GOT A RIDE
BACK TO HER APARTMENT.
I SUPPOSE SHE COULD HAVE
HAILED A TAXI.
EXACTLY.
FROM A STREET THAT HAD
HAD RECENT ROAD WORK DONE.
AND IF WE'RE LUCKY, SOME SORT
OF SURVEILLANCE CAMERA.
PUTTING MAE'S
METAL FRAGMENT ASIDE,
I FOUND THE STREET THAT
YOU'RE LOOKING FOR, CLARA --
COUR DES RêVES.
RIGHT,
BUT COMMISSAIRE CLEMENT SAID
THAT THERE WERE
NO CCTV CAMERAS NEARBY.
He is correct.
HOWEVER,
THERE'S AN AMERICAN BANK
ON A NEARBY CORNER WITH A CAMERA
THAT CAPTURED THIS.
THEY WERE KIND ENOUGH TO SEND ME
THE SECURITY-CAMERA FOOTAGE.
Jack:
THAT'S NOT A TAXI.
IS THAT THE BEST IMAGE WE HAVE
OF THE DRIVER?
I AM AFRAID SO.
Mae: OH, IT DOESN'T LOOK LIKE
SHE KNOWS THIS GUY.
YEAH,
IT'S SO WEIRD.
I MEAN, NOT ONLY DOES SHE
GET INTO A CAR WITH A STRANGER,
BUT SHE GETS
INTO THE BACKSEAT.
THERE'S NO RECORD OF SAMANTHA
REQUESTING A RIDE-SHARE.
WHAT IF
IT WAS A GYPSY CAB?
GYPSY CAB
IN PARIS?
HOLD ON.
WAIT.
WHAT'S THAT RIGHT THERE --
HANGING FROM
THE REARVIEW MIRROR?
IT LOOKS LIKE
A HACKNEY HORSE.
WHICH IS A RECENT SYMBOL
FOR GYPSY CABS IN THE CITY.
AND THAT'S HOW YOU GET TO KNOW
SOMEONE WITHOUT KNOWING THEM.
OUR UNSUB
DRIVES A GYPSY CAB.
MAKES PERFECT SENSE --
HE NEEDS A WAY TO LEARN
IF HIS PROSPECTIVE VICTIMS
ARE AMERICAN, LIVING ALONE.
THIS WAY,
HE GETS TO INTERVIEW THEM.
IT'S KIND OF LIKE
"TAXI CAB CONFESSIONS."
I MEAN, TAXI-CAB DRIVERS
AND BARTENDERS --
THEY'RE ALWAYS
THE STRANGERS
THAT WE FEEL THE MOST
COMFORTABLE CONFIDING IN.
BECAUSE
THEY ARE SHARED INTIMACIES
WE WANT TO BELIEVE
ARE FLEETING
AND DON'T HAVE
A LASTING IMPACT.
Simmons: AT LEAST WE HAVE
THE IMAGE OF THE VEHICLE.
THIS PARTIAL LICENSE-PLATE
NUMBER WON'T GET US VERY FAR.
IT WON'T
GET US ANYWHERE.
THOSE PLATES ARE STOLEN.
AND I GOT TO BE HONEST,
IT'S NOT GONNA BE THAT EASY
TRACKING DOWN
THIS ONE PARTICULAR VEHICLE.
THERE'S AT LEAST 25,000 OF THEM
REGISTERED IN PARIS ALONE.
WELL, WE CAN START
BY HAVING THE LOCAL POLICE
SWEEP THE
18th ARRONDISSEMENT.
WELL, THAT'S A START,
BUT OUR UNSUB'S HUNTING GROUND
IS GONNA EXPAND
WHEREVER HE CAN FIND
A VULNERABLE AMERICAN WOMAN.
AND WITH 2 VICTIMS
IN LESS THAN 48 HOURS,
HE'S ALREADY HUNTING
FOR HIS NEXT VICTIM RIGHT NOW.
♪♪
[ WOMAN SINGING IN FRENCH ]
[ LAUGHTER ]
[ SINGING CONTINUES ]
[ BRAKES SQUEAL, SINGING STOPS ]
HEY, HEY.
BONJOUR.
UH, JE VEUX
QUE VOUS ME CHASSEZ...
SORRY. PARDON.
UM, PEUX TU --
OH, IT'S ALL RIGHT,
MADEMOISELLE. I DO
SPEAK ENGLISH.
OH!
[ Laughing ] SERIOUSLY?
THAT'S AWESOME.
I CAN TAKE YOU
ANYWHERE YOU LIKE.
HOW ABOUT
17 RUE DE FOSS?
[ SPEAKS FRENCH ]
WHERE ARE YOU FROM,
THEN?
SAN DIEGO, CALIFORNIA.
AH.
AND WHAT BRINGS YOU
TO PARIS?
A MUSIC INTERNSHIP --
I PLAY PIANO.
IN THE CAFE WHERE YOU WORK,
I PRESUME?
NO, I JUST NEED
SOME EXTRA CASH.
AND IT'S HELPING ME
IMPROVE MY FRENCH.
[ CHUCKLES ]
SO, UH,
17 RUE DE FOSS.
THAT IS NOT
A HOSTEL OR HOTEL.
NO, YEAH,
I'M STAYING WITH A FRIEND.
AH.
A BOYFRIEND?
[ CHUCKLES ]
I WISH.
YOU MUST HAVE
A SPECIAL BOYFRIEND,
A BEAUTIFUL BUTTERFLY
LIKE YOU.
OH,
NOT SO MUCH.
HMM.
AND, UH...
HOW ARE YOU GETTING ALONG WITH
THIS FRIEND YOU'RE STAYING WITH?
YOU KNOW WHAT?
UM, DO YOU MIND JUST LETTING ME
OUT UP AT THE CORNER UP HERE?
BUT WE'RE NOT
AT YOUR APARTMENT.
NO, I KNOW, THAT'S OKAY.
JUST RIGHT UP HERE.
NO, IT'S NOT.
IT'S NOT SAFE HERE.
OKAY, LOOK, FRANCOIS,
I WANT OUT NOW!
♪♪
[ CAMERA SHUTTER CLICKS ]
[ SPEAKS FRENCH ]
[ CAMERA SHUTTER CLICKS ]
YOU LET ME OUT RIGHT NOW,
OR I'M SENDING THIS TO THE COPS.
DO YOU HEAR ME?
[ TIRES SQUEAL ]
WHAT THE HELL
ARE YOU DOING?!
[ YELLING IN FRENCH ]
[ SCREAMS ]
[ ENGINE REVVING ]
[ SCREAMS ]
[ HORNS HONKING ]
Clement:
KATHERINE BARKER, 25.
A MUSIC INTERN
FROM SAN DIEGO, CALIFORNIA.
SHE WAS DISCOVERED IN AN ALLEY
IN THE 2nd ARRONDISSEMENT.
HE LITERALLY TORE OUT HER HEART
AND STUCK IT IN HER HANDS.
Mae: LOOKS LIKE SHE SUFFERED
COMPOUND FRACTURES TO HER LEGS
AND HER PELVIS.
AND THAT TELLS ME
THAT HE TORE HER HEART OUT
AFTER
HE RAN HER OVER.
BUT WHY CHANGE
THE PATTERN HERE?
WHY STAGE THE BODY IN AN ALLEY,
NOT HER OWN APARTMENT?
BECAUSE KATHERINE
FOUGHT BACK.
SHE TRIED
TO GET AWAY.
THESE ABRASIONS ON HER FACE,
ALONG HER LEGS --
IT'S ROAD RASH,
I'D SAY FROM JUMPING OUT
OF A MOVING VEHICLE.
SO NOW WE'RE LOOKING AT
3 VICTIMS
IN THE SPAN
OF 72 HOURS.
AND GIVEN
THAT OUR UNSUB
NEEDS TO FIND AN AMERICAN WOMAN
IN A FOREIGN CITY,
IT'S AS IF HE DOESN'T HAVE
A COOLING-OFF PERIOD.
I THINK IT'S TIME WE SPEAK TO
THE PUBLIC ABOUT WHAT WE KNOW.
OFFER THEM A WARNING
TO AVOID CONTACT WITH THE DRIVER
OF THIS GYPSY CAB,
IMPLORE THEM TO NOTIFY
US IMMEDIATELY IF THEY
SHOULD SEE HIM.
THAT STRATEGY
CUTS BOTH WAYS.
"CUTS BOTH WAYS" --
WHAT DO YOU MEAN?
NO DOUBT A WARNING WILL PROTECT
THE PUBLIC IN THE NEAR TERM.
WHAT WE'RE CONCERNED WITH
IS IF WE'RE NOT ABLE
TO APPREHEND THE UNSUB
IMMEDIATELY AFTERWARDS,
THEN HE MIGHT RESPOND
BY ABANDONING THE CAR.
AND RIGHT NOW,
AS LONG AS HE FEELS COMFORTABLE
BEHIND THAT WHEEL, THEN WE HAVE
A CHANCE OF CATCHING HIM.
BUT IF
HE DITCHES THAT CAR,
NOT ONLY WILL IT MAKE IT HARDER
FOR US TO TRACK HIM DOWN,
IT WILL FORCE HIM
TO ALTER HIS M.O. EVEN FURTHER.
SO YOU'RE TELLING ME I'M DAMNED
IF I DO, DAMNED IF I DON'T.
WE NEED MORE TIME.
LETTING THE UNSUB KNOW
WHAT WE KNOW RIGHT NOW
IS REALLY
A NUCLEAR OPTION.
I WILL WAIT THEN --
UNTIL MORNING.
THEN WE SOUND
THE ALARMS.
♪♪
[ WOMAN SINGING IN FRENCH ]
[ WOMAN SPEAKING FRENCH ]
[ MUSIC CONTINUES ]
[ CAMERA SHUTTERS CLICKING ]
[ MUSIC CONTINUES ]
MONTY: So what did I tell you,
Mae? The French
ran a radiocarbon dating
on the metal fragment
THAT WAS RECOVERED
FROM BIANCA LEWIS' BODY.
TURNS OUT TO BE
AN IRON COMPOSITE
THAT WAS SMELTED DOWN INTO WHAT
IS ESSENTIALLY A HAND SAW --
SOME TIME IN THE LATE
19th CENTURY.
WELL, I'M GONNA GO OUT
ON A LIMB AND SAY
THIS PROBABLY WON'T
HELP US NARROW DOWN
OUR UNSUB'S IDENTITY.
MAYBE,
BUT IT DID HELP ME IDENTIFY
THOSE WEIRD WAVY LINES
ETCHED INTO THE FRAGMENT.
Now, because the timber scribes
and the hand saw
are both very old
and very French,
I did some digging
and discovered a logo
for a once-renowned
wood-craftsman company
out of Marseilles.
LE LION DE L'EAU.
COMPANY WAS FOUNDED
BY THE BOULANGER FAMILY IN 1880.
IT REMAINED FAMILY-OWNED
UNTIL IT WAS SOLD IN 1987.
AND WHATEVER HAPPENED AFTER THAT
TO EITHER THE COMPANY
OR THE BOULANGER FAMILY WAS NOT
UPLOADED FOR DIGITAL POSTERITY.
SO WHAT
ARE WE THINKING?
IF OUR UNSUB'S
WEAPONS OF CHOICE
CAN BE LOOSELY TRACED BACK
TO THIS COMPANY,
THEN IS HE A POSSIBLE RELATIVE
OF THE BOULANGER FAMILY?
OR A SUBSIDIARY THAT ACQUIRED
SOME OF THE COMPANY'S ASSETS.
YOUR GUESS
IS AS GOOD AS MINE.
JACK: We don't have time
for guesswork.
WE NEED TO BE ABLE TO PROVIDE
CLEMENT AND HIS PEOPLE
WITH A WORKABLE PROFILE,
OTHERWISE HE'S GONNA RELEASE
THE INFORMATION WE HAVE
TO THE PUBLIC.
SO LET'S
GO OVER IT AGAIN.
OKAY, WE'RE LOOKING FOR SOMEONE
WHO IS CRIMINALLY SOPHISTICATED,
STRONG, PATIENT, WHICH SUGGESTS
TO ME AN OLDER MALE,
PROBABLY IN HIS 40s.
Simmons: HUNTING FOR
THE RIGHT VICTIM TAKES TIME,
SO IT DOESN'T LOOK LIKE
HE HAS A JOB.
UNLESS THE GYPSY-CAB THING
IS LEGIT
AND HE'S ONLY STRIKING WHEN
THE VICTIM IS THE RIGHT TYPE.
YEAH, AND BASED ON
HIS STAGING OF THE BODIES
AT THE LAST CRIME SCENE,
IT APPEARS TO ME THAT KATHERINE,
BIANCA, AND SAMANTHA
ARE ALL SURROGATES
FOR OUR UNSUB'S TRUE TARGET,
AND THEIR MURDERS
ARE PROBABLY A MEANS
TO BUILD HIS COURAGE
AND CONFIDENCE
IN ORDER
TO COMMIT THE ULTIMATE ACT.
SO SOMEWHERE OUT THERE
IS AN AMERICAN WOMAN
WHO BROKE
THIS GUY'S HEART.
OR REJECTED HIM OR
COMMITTED SOME PERCEIVED SLIGHT
THAT HE NOW FEELS
THAT HE HAS TO REDRESS --
IN THE MOST BRUTAL WAY
POSSIBLE.
JACK?
♪♪
CLEMENT
IS DROPPING THE BOMB.
[ SIGHS ]
WE BELIEVE THAT THIS KILLER IS
HUNTING AMERICAN WOMEN...
IN HIS CAR.
HE'S DRIVING A BLACK PEUGEOT.
IF YOU SEE THIS CAR, PLEASE
AVOID THE DRIVER.
HE'S KILLED THREE WOMEN AND
IS STILL AT LARGE.
[ SPEAKING FRENCH ]
[ MAN SCREAMS ]
♪♪
[ HORN HONKS ]
[ INDISTINCT CONVERSATIONS ]
YOU WERE RIGHT.
HE ABANDONED HIS VEHICLE
IN ENTREPôT --
THE 10th ARRONDISSEMENT.
HE LEFT NOTHING BEHIND
FOR US.
I KNOW
YOU BELIEVE
I HAVE ALTERED THIS MONSTER'S
BEHAVIOR UNPREDICTABLY.
BUT I WOULD LIKE TO BELIEVE
I STALLED HIS PROGRESS.
HE WILL MOST CERTAINLY
NEED ANOTHER CAR
IN ORDER
TO MAINTAIN HIS DECEIT.
IF HE MAINTAINS
HIS DECEIT.
HE COULD JUST
GO INTO A TAILSPIN --
YOU NEED
TO DOUBLE DOWN.
CALL IN REINFORCEMENTS
IF YOU HAVE TO.
YOUR DEPARTMENT
NEEDS TO SHOW OVERWHELMING FORCE
ON THE STREETS
OF PARIS TONIGHT
AND EVERY NIGHT
UNTIL WE CATCH THIS MAN.
THIS UNSUB
NEEDS TO FEEL YOUR BREATH
ON THE BACK OF HIS NECK
AT ALL TIMES,
AND EVERY AMERICAN
WOMAN OUT THERE WHO
COULD BE HIS NEXT VICTIM
NEEDS TO FEEL LIKE THERE'S
A COP ON EVERY CORNER WHO'S
THERE TO PROTECT THEM.
I WILL DO
WHAT I CAN.
[ TELEPHONE RINGS ]
ALL RIGHT, WE NEED TO FOCUS
ON A POSSIBLE CONNECTION
BETWEEN OUR UNSUB
AND THE BOULANGER FAMILY
OR THIS CRAFTSMAN COMPANY
IN MARSEILLES.
AND WE NEED TO FIND SOME WAY
TO GET OUR HANDS ON HARD COPIES
OF ALL THOSE RECORDS
AND HISTORIES.
ALL RIGHT,
I'M ON IT.
THAT WAS FAST.
YOUR BOSS SAID I'D HAVE TO
WAIT 30 MINUTES.
Man: MADEMOISELLE,
DO YOU SPEAK ENGLISH?
ENGLISH?
YES.
ARE YOU AMERICAN,
BY CHANCE?
WHAT ARE YOU TALKING ABOUT?
I AM NOT AMERICAN. WHY?
[ TRUCK BEEPING ]
AY, AY, AY!
YOU WILL NOT HELP ME?
NO PROBLEM.
I CAN HELP.
[ WOMAN SINGING IN FRENCH ]
♪♪
♪♪
Clement: HER NAME IS
ALEXANDRA LAFAYETTE.
HER HUSBAND CAME HOME LAST NIGHT
AND STARTLED AN INTRUDER,
WHO ESCAPED.
BUT THAT'S
WHEN HE FOUND HER.
SHE'S FRENCH?
MY INSPECTORS
DIDN'T IMMEDIATELY CONNECT HER
WITH THE AMERICAN WOMEN
UNTIL THEY SAW THIS.
♪♪
Mae:
LOOKS LIKE A BUTTERFLY.
I DON'T UNDERSTAND.
HE FILLED HER STOMACH
FULL OF DEAD BUTTERFLIES.
YEAH, BUT IT DOESN'T LOOK LIKE
ANY KIND OF BUTTERFLY
I'VE EVER SEEN BEFORE.
HE DIDN'T TAKE THE TIME
TO STAGE HER BODY AT THE SCENE.
AS I SAID, MADAME LAFAYETTE'S
HUSBAND WALKED IN ON HIM.
YEAH, BUT HOW DID HE NOT
KNOW THAT SHE WAS LIVING
WITH HER HUSBAND?
I MEAN, DO YOU THINK THAT HE
DIDN'T HAVE A CHANCE TO ASK HER?
OR MAYBE
HE NO LONGER CARES.
WHY WOULDN'T HE CARE?
IT'S A TERRIBLE RISK.
BECAUSE MAYBE
HE DOESN'T HAVE TIME TO CARE
IF HIS VICTIMS
ARE AMERICAN OR FRENCH.
AND NOW
ANY VULNERABLE WOMAN WILL DO.
HE HAS TO FINISH WHAT HE STARTED
BEFORE IT'S TOO LATE.
TOO LATE FOR WHAT,
MADEMOISELLE?
WELL, FOR ONE THING,
HE KNOWS THAT WE'RE ON TO HIM.
AND IT'S JUST A MATTER OF TIME
BEFORE WE SHUT HIM DOWN, RIGHT?
RIGHT, BUT I THINK THERE'S
SOMETHING ELSE APPLYING
PRESSURE TO HIM,
FORCING HIM TO ACCELERATE
HIS MISSION,
ITS STATEMENT.
AND THIS TIME, IT'S HIS
BUTTERFLIES IN THE STOMACH.
THAT IS
WHAT HE WAS TRYING TO SAY.
I THINK WE'VE BEEN
LOOKING AT THESE MURDERS
LIKE THEY'RE JUST
REHEARSALS.
BUT MAYBE
THEY'RE THE MAIN EVENT.
HOW DO YOU FIGURE?
I THINK OUR VISCERAL REACTION
TO THE BRUTALITY HERE
IS KEEPING US
FROM SEEING THE SCENE
FROM THE UNSUB'S
POINT OF VIEW.
I HAVE BUTTERFLIES
IN MY STOMACH.
I HAVE MY HEART
IN MY HANDS.
I LOST MY HEAD.
♪♪
AND I AM BLINDED
BY LOVE.
THIS IS NOT LOVE.
THIS IS VICIOUS
AND CRUEL.
YES, BUT, YOU SEE, THEY
AREN'T EITHER OF THOSE
THINGS TO OUR UNSUB.
TO HIM, THESE CRIME SCENES
ARE A WAY
FOR HIM TO TRY
AND EXPRESS HIMSELF.
YEAH, AND YOU THINK THAT
HE'S TRYING TO EXPRESS HIMSELF
TO THIS IDEALIZED
AMERICAN WOMAN?
I DO.
I THINK HE IS TRYING TO TELL HER
HOW SHE MAKES HIM FEEL.
IT'S LIKE A SERIES OF SICK,
TWISTED VALENTINES.
SO YOU DON'T THINK
SHE'S A TARGET.
I THINK SHE'S
THE OBJECT OF HIS AFFECTIONS,
AND HE WILL TRY AND REACH OUT
TO HER FOR SURE.
BUT IF AND WHEN SHE REJECTS
HIS AFFECTIONS...
HE WILL FEEL BETRAYED
BY LOVE
AND ULTIMATELY
LASH OUT ON HER.
LET US PRESUME YOU'RE CORRECT,
AGENT SEGER.
IF WE CAN'T FIND
THIS MAN,
PERHAPS WE FIND
THIS WOMAN.
I JUST KNOW IF SHE WILL BE
ANY EASIER TO FIND THAN HIM.
YEAH, BUT LET'S NOT FORGET ABOUT
THESE GUYS HERE.
I MEAN...
SOMETHING TELLS ME THAT THIS
BUTTERFLY EFFECT MAY JUST --
HOW DID YOU SAY IT,
COMMISSAIRE CLEMENT?
SHAKE THE FRUIT
OUT OF THE TREE?
♪♪
MONTY: Say hello
to my little friend.
UDASPES FOLUS -- A.K.A.
THE GRASS DEMON BUTTERFLY.
NOT ONLY DOES HE NOT NORMALLY
RESIDE IN YOUR INTESTINES,
BUT HE'S A NON-NATIVE
TO THE EUROPEAN CONTINENT.
HE PREFERS INDIA
AND SOUTHEAST ASIA.
SO OUR UNSUB EITHER GETS HOLD
OF THESE DEMON BUTTERFLIES
BY IMPORTING THEM
OR STEALING THEM.
LET'S GO WITH
WHAT'S BEHIND DOOR NUMBER TWO.
IMPORT RECORDS SHOW A DELIVERY
WAS MADE TO THE PARIS AREA
ABOUT NINE MONTHS AGO,
TO MAISON DES PAPILLONS,
WHICH IS LITERALLY
"HOUSE O' BUTTERFLIES."
THEN ABOUT A WEEK AGO,
A TRESPASSING CHARGE WAS FILED
AND THEN DROPPED
AGAINST A 42-YEAR-OLD MAN
NAMED PAUL MOSSIER.
WAIT A SECOND.
THAT NAME SOUNDS FAMILIAR.
THAT LAST NAME --
MOSSIER.
WHEN I FOLLOWED UP
WITH THE BOULANGER FAMILY
AND WHAT'S BECOME
OF THE LE LION DE L'EAU COMPANY,
THERE WAS A DISPUTE
OVER INHERITANCE
THAT WAS FILED 20 YEARS AGO
BY KILLIAN MOSSIER.
COULD BE AN UNCLE
ON MADAME BOULANGER'S SIDE.
I'M NOT BIG
ON COINCIDENCE.
YEAH, RIGHT.
AND IF PAUL IS CONNECTED
TO THE FAMILY,
THEN THAT'S HOW
HE GETS THE MURDER WEAPONS.
MONTY, WHAT ELSE CAN YOU TELL US
ABOUT THIS PAUL MOSSIER?
HE'S GOT
A BIT OF A RECORD
DATING BACK
THE LAST SEVERAL YEARS.
VARIOUS ASSAULTS,
DISORDERLY CONDUCT.
THEN IT SAYS HERE
THAT FOLLOWING
AN ATTEMPTED ASSAULT
ON A POLICE OFFICER,
PAUL MOSSIER WAS REMANDED
TO A PSYCHIATRIC HOSPITAL.
HE'S SUPPOSED TO BE
AN IN-PATIENT
AT L'INSTITUT DU PINEL.
CLARA AND I
WILL CHECK IT OUT...
WHILE YOU TWO STAY HERE
AND TRY TO IDENTIFY
THE AMERICAN WOMAN WHO'S THE
FOCUS OF OUR UNSUB'S ATTENTION.
♪♪
BONJOUR.
BONJOUR.
JE SUIS
L'OFFICIER SEGER.
C'EST L'UNITé
DU CHEF GARRETT.
NOUS SOMMES
DU FBI.
NOUS AIMERIONS PARLER
AVEC MONSIEUR PAUL MOSSIER.
[ SPEAKS FRENCH ]
EXCUSE ME.
YOU ARE LOOKING
FOR PAUL?
THAT'S RIGHT.
AND YOU ARE?
DR. ALAIN GILLES, CLINICAL
DIRECTOR OF BEHAVIORAL HEALTH.
IS PAUL MOSSIER
A PATIENT HERE?
I'M SORRY, BUT, UH, WHY DOES
THE FBI WANT TO SPEAK TO HIM?
HIS NAME'S COME UP WITH REGARDS
TO AN ONGOING INVESTIGATION.
YOU THINK
HE HAS SOMETHING TO DO
WITH THE AMERICAN WOMEN
WHO HAVE BEEN MURDERED.
WE NEED
TO SPEAK TO HIM.
PAUL WAS RELEASED FROM OUR
SUPERVISION OVER TWO WEEKS AGO.
WHEN HE WAS REMANDED
TO THIS FACILITY,
WHAT WAS
HIS DIAGNOSIS?
I'M TRULY NOT AT LIBERTY
TO SHARE THOSE DETAILS WITH YOU.
WERE YOU
HIS PRIMARY THERAPIST?
YES,
MYSELF AND DR. BERNARD.
BUT TO BE HONEST,
PAUL SHOWED THE GREATEST
SIGNS OF IMPROVEMENT
OVER THE LAST MONTHS
WHILE WORKING WITH
ONE OF OUR VOLUNTEERS.
SHE, UH,
USED ART THERAPY.
Jack:
IS THIS HER?
YES. HER NAME
IS AMY WALLACE.
AMY'S AN AMERICAN,
ISN'T SHE?
YES, SHE IS.
MAY WE SPEAK
WITH HER?
UNFORTUNATELY,
SHE IS NO LONGER HERE.
SHE LEFT
ABOUT A MONTH AGO.
♪♪
DID SHE SEE THIS
BEFORE SHE LEFT?
NO.
PAUL TOOK HER ABSENCE
VERY HARD.
HE COMES FROM
A FAMILY OF CRAFTSMEN,
BUT DUE TO HIS STRUGGLES
WITH MENTAL HEALTH,
THEY REJECTED HIM.
AMY WAS PROBABLY
THE FIRST PERSON
TO HELP HIM REALIZE
HIS POTENTIAL.
BUT THIS HOSPITAL
FELT COMFORTABLE RELEASING HIM
DESPITE HIS KNOWN
AGGRESSIVE TENDENCIES
AND THIS SUGGESTION
OF A VIOLENT FANTASY?
IT'S NOT
WHAT I WOULD HAVE PREFERRED,
BUT PAUL
HAD IMPROVED ENOUGH
THAT WE COULD NO LONGER
HOLD HIM INVOLUNTARILY.
DO YOU KNOW IF PAUL TRIED TO
CONTACT AMY AFTER HIS RELEASE?
AS A MATTER OF FACT,
HE DID, YES.
HE ASKED
FOR HER ADDRESS.
AND THAT'S WHEN SOMEONE
MENTIONED THAT SHE HAD
GOTTEN ENGAGED
AND THAT SHE WAS RETURNING
TO THE UNITED STATES.
BUT YOU DON'T KNOW IF OR WHEN
SHE RETURNED TO THE U.S.?
NO, I DO NOT,
I'M SORRY.
THANK YOU,
DOCTOR.
SURE.
THANK YOU.
WE NEED TO FIND
AMY WALLACE -- NOW.
♪♪
PAUL?
BONJOUR, AMY.
I DIDN'T KNOW
YOU KNEW WHERE I LIVED.
WELL, I APOLOGIZE
FOR NOT CALLING
BEFORE DROPPING BY
LIKE THIS.
NO, IT'S FINE.
I...
JUST THOUGHT
YOU WERE THE MOVERS.
THEY'RE ALREADY AN HOUR LATE,
AND I'M MOVING BACK HOME.
OH.
BUT IT'S REALLY GOOD
TO SEE YOU.
IT'S REALLY GOOD
TO SEE YOU, TOO.
SORRY I HAVEN'T HAD A CHANCE
TO VISIT.
IT'S BEEN
A BUSY TIME.
WELL...
I'M NO LONGER A PATIENT
AT THE HOSPITAL.
WONDERFUL.
[ CHUCKLES ]
AND YOU'RE STILL WORKING ON
THE THINGS WE WERE FOCUSED ON?
OH, YES, I HAVE.
I-I NEED
TO SHOW YOU SOMETHING.
OKAY.
UH, BUT, UH,
IT'S NOT HERE.
SO I NEED TO TAKE YOU --
TO SEE IT.
PAUL, LIKE I SAID,
I CAN'T LEAVE.
I'M STILL WAITING
FOR THE MOVERS.
I...
I'VE BEEN WORKING
REALLY HARD, AMY.
PLEASE...
COME...
WITH ME.
OKAY.
LET ME
JUST GRAB MY COAT.
OKAY.
[ SCREAMING ]
[ GASPING ]
PAUL,
STOP, STOP!
PLEASE.
I'M NOT
GOING TO HURT YOU.
I PROMISE.
WE'RE JUST PLAYING
LE JEU D'éVANOUISSEMENT.
IT'S A FAINTING GAME.
GOOD NIGHT,
MY LOVE.
♪♪
[ INDISTINCT CONVERSATION ]
MY INSPECTORS HAVE SEARCHED THE
BUILDING AND OUTER PERIMETER.
THERE'S NO SIGN OF PAUL MOSSIER
OR AMY WALLACE.
NO SIGN
OF A STRUGGLE.
I'M NOT SURPRISED.
IF WE'RE RIGHT,
AT THIS MOMENT,
PAUL'S INTENTION
IS NOT TO HURT AMY,
BUT TO TRY AND IMPRESS HER
WITH WHAT HE'S DONE.
SO HE WOULD HAVE
INCAPACITATED HER
IN ORDER TO TRANSPORT HER
SOMEPLACE HE FEELS SAFE
AND COMFORTABLE.
I CANNOT BELIEVE HIS INTENTION
IS NOT TO KILL HER.
SHE COULD
ALREADY BE DEAD
AND HE'S TAKEN HER BODY
SOMEWHERE TO POSE IT.
BELIEVE IT OR NOT, PAUL'S
ACTUALLY TRYING TO WOO AMY,
WHICH MEANS WE HAVE TIME,
BUT YOU ARE RIGHT.
EVENTUALLY,
AMY WILL SEE WHAT PAUL HAS DONE,
AND SHE WILL
ABSOLUTELY REJECT HIM.
AND THAT'S
WHEN HE KILLS HER.
THE QUESTION IS,
WHERE DID HE TAKE HER?
[ CELLPHONE RINGS ]
[ CELLPHONE BEEPS ]
SIMMONS,
WHAT DO YOU GOT?
AT 2:37 P.M.,
ALEXANDRA LAFAYETTE
CALLED FOR ROADSIDE ASSISTANCE.
When the tow-truck driver
finally showed up,
HE SEES ANOTHER TOW TRUCK
HAULING AWAY APPEARS TO BE
ALEXANDRA'S VEHICLE.
MAE: That was under the bridge
near the Rue de l'étoile,
AND MONTY'S GOT A HOOK UP
TO THE CCTV CAMERAS
AT THE INTERSECTION RUNNING BOTH
NORTH AND SOUTH OF THERE.
LET ME PATCH YOU IN,
BOSS.
I WAS ABLE TO SPOT OUR UNSUB'S
NEW RIDE, WHICH IS A TOW TRUCK,
AND HE'S CLEARLY GOT
ALEXANDRA'S CAR HOOKED UP TO IT.
HE'S HEADING NORTHBOUND
ON THE RUE D'éTOILE.
But I ran
all the CCTV footage.
I LOST THEM
HEADING NORTH-NORTHEAST
TOWARD
THE TREMBLAY-EN-FRANCE.
I DON'T THINK HE'D
TAKE HER COMPLETELY
OUT OF THE CITY, JACK.
THAT'S A PRETTY INDUSTRIAL AREA.
IT'S A GOOD PLACE TO LAY LOW.
BUT THERE'S NO RECORD
OF A PAUL MOSSIER
OWNING OR LEASING PROPERTY
OUT IN THAT AREA.
SIMMONS: Well,
it's got to be connected
to Killian Mossier
somehow.
MAE AND I
WILL CHECK THE RECORDS AGAIN.
WE NEED TO SET UP A COMMAND POST
OUT NEAR THE AIRPORT.
[ JAZZ MUSIC PLAYS ]
[ WOMAN SINGING IN FRENCH ]
[ GASPS ]
PAUL?
WHERE AM I?
[ SPEAKING FRENCH ]
[ BREATHING HEAVILY ]
[ SPEAKING FRENCH ]
[ SCREAMS ]
AAH!
[ SCREAMS ]
NO!
[ WHIMPERING ]
[ SPEAKING FRENCH ]
THAT'S WHY I NEED YOU TO SEE
EVERYTHING I'VE DONE, OKAY?
HERE. HERE.
Monty: ACCORDING TO THOSE FILES
YOU SCANNED FOR ME,
THE MOSSIER CLAN IS LIKE
SOME WITHERING BASTARD BRANCH
OF THE BOULANGER FAMILY TREE.
BUT THE MOSSIERS --
OR WHAT'S LEFT OF THEM --
THEY HELD TITLE
TO FIVE SEPARATE HOLDINGS
ON THE OUTSKIRTS
OF PARIS.
FROM MEAUX
ALL THE WAY TO PLAISIR.
JACK AND CLARA ARE GETTING
PRETTY CLOSE TO THAT ONE
PROPERTY IN VILLEPINTE.
WE HAVE LOST
OUR SENSE OF HISTORY.
THEY ARE CALLING ME
THE BUTCHER OF PARIS.
THAT NAME WAS GIVEN
TO MARCEL PETIOT.
HE WAS A DOCTOR
WHO KILLED 23 PEOPLE
DURING
WORLD WAR II.
HE WAS
A BUTCHER.
AND MOI?
I AM...
AN ARTISTE.
I TOOK FLESH AND BONE
AND MADE THEM, UH...
TRANSCENDENT.
BUT NONE OF THIS WOULD BE
POSSIBLE WITHOUT YOU.
YOU ARE MY MUSE,
AMY.
BECAUSE OF YOU,
I AM TRANSCENDENT.
YOU'VE ALWAYS
BEEN SPECIAL, PAUL.
[ CHUCKLES ]
BUT I COULDN'T SEE THAT
BEFORE YOU.
I KNOW.
[ MUSIC CONTINUES ]
YOU KNOW...
WHEN I WAS
A LITTLE BOY,
MY FATHER TRIED TO TEACH ME
HOW TO CARVE THE WOOD.
[ SIGHS ]
HE GOT FRUSTRATED
AND BURNED MY HAND
WITH HIS CIGARETTE.
TOLD ME
I WAS NOT HIS BLOOD.
I...I AM SO SORRY.
WILL YOU PLEASE
LET ME GO, PAUL?
I CAN'T.
YEAH.
YES,
YOU CAN.
NO, NO, AMY.
WITHOUT YOU,
I AM NOTHING.
I LOVE YOU,
AMY.
JE T'AIME.
[ WHIMPERS ]
YOU UNDERSTAND
WHAT I'VE DONE, DON'T YOU?
I DO.
[ CHUCKLES ]
♪♪
HOW DO
YOU LIKE IT?
[ SHUDDERED BREATHING ]
♪♪
JACK,
THE FRENCH NATIONAL POLICE
HAVE DETAINED KILLIAN MOSSIER
IN TOULOUSE.
HE HAS CONFIRMED THAT HIS NEPHEW
HAS TAKEN POSSESSION
OF THE PROPERTY
YOU'RE HEADING TO NOW.
JACK: Does he know
if his nephew
has stockpiled
any other weapons?
HE KNOWS
THAT HIS NEPHEW'S CRAZY.
I...
[ SHUDDERED BREATHING ]
I CAN'T BELIEVE
YOU DID THAT.
ALL THOSE WOMEN,
PAUL?
OH.
JE SUIS DéSOLé.
OH, SORRY?
YOU'RE DISGUSTING.
♪♪
YOU'RE SICK.
YOU'VE ALWAYS
BEEN SICK.
♪♪
[ SPEAKS FRENCH ]
HUH?
[ YELLING IN FRENCH ]
[ GRUNTING ]
♪♪
TU EST...
UNE SALOPE...
♪♪
...SANS COEUR!
♪♪
[ GRUNTS ]
[ GROANS ]
[ BREATHING HEAVILY ]
♪♪
I'M SORRY,
AMY.
[ SOBBING ]
[ GUNSHOT ]
♪♪
[ PANTING ]
♪♪
PUT IT DOWN,
PAUL!
NOW!
♪♪
[ SOBBING ]
♪♪
[ WOMAN SINGING IN FRENCH ]
[ SINGING CONTINUES ]
YOU KNOW WHAT?
THIS IS ONE TIME
THAT I AM KIND OF OKAY WITH
THE MECHANICAL DELAY
ON THE JET.
THIS IS
A BEAUTIFUL CITY.
YES,
IT IS.
IT'S HARD SOMETIMES
TO APPRECIATE THE BEAUTY.
YEAH,
WE GOT TO FIND IT -- SOMEHOW.
OTHERWISE, I DON'T THINK WE
COULD DO THE JOB WE NEED TO DO.
YEAH, EVEN THE DARKEST NIGHT
WILL END, AND THE SUN WILL RISE.
TO BEAUTY --
WHEREVER
WE MAY FIND IT.
♪♪