1
00:00:03,814 --> 00:00:06,650
LEAVE THE SAFETY
OF OUR BORDERS EVERY YEAR.

2
00:00:06,683 --> 00:00:08,252
IF DANGER STRIKES,

3
00:00:08,285 --> 00:00:10,454
THE FBI's
INTERNATIONAL RESPONSE TEAM

4
00:00:10,487 --> 00:00:12,689
IS CALLED INTO ACTION.

5
00:00:29,473 --> 00:00:32,376
OH, YOU GUYS GO AHEAD.
I THINK I'M GOING TO WALK BACK.

6
00:00:32,409 --> 00:00:33,810
YOU'RE CRAZY.

7
00:00:33,844 --> 00:00:36,113
YOU'RE LIKE OVER A MILE
FROM YOUR APARTMENT.

8
00:00:36,147 --> 00:00:38,149
ARE WE FORGETTING
MY THREE-MILE MORNING JOGS?

9
00:00:38,182 --> 00:00:39,616
DESPITE
WHAT THE FRENCH THINK,

10
00:00:39,650 --> 00:00:42,153
ALL AMERICANS
AREN'T FAT AND LAZY.

11
00:00:42,186 --> 00:00:43,854
SAM, ARE YOU SURE?
IT'S KIND OF LATE.

12
00:00:43,887 --> 00:00:45,689
LADIES,
WE'RE IN PARIS.

13
00:00:45,722 --> 00:00:49,360
IT'S A BEAUTIFUL NIGHT,
AND YOU WANT TO SQUEEZE YOURSELF

14
00:00:49,393 --> 00:00:52,896
ONTO A SUBWAY TRAIN WITH A CAR
FULL OF DES éTRANGERS?

15
00:00:52,929 --> 00:00:53,730
YEAH.

16
00:00:53,764 --> 00:00:56,133
SOMEBODY HAS WATCHED
"MOULIN ROUGE!"

17
00:00:56,167 --> 00:00:57,468
WAY TOO MANY TIMES!

18
00:00:57,501 --> 00:00:59,636
COME ON!
WHO'S COMING WITH ME?

19
00:00:59,670 --> 00:01:02,373
SAM, I LOVE
YOUR BOHEMIAN SOUL AND ALL,

20
00:01:02,406 --> 00:01:04,808
BUT MY SOLES
ARE HURTING LIKE HELL.

21
00:01:04,841 --> 00:01:07,878
NO WAY I'M WALKING ACROSS TOWN
IN THESE SHOES.

22
00:01:07,911 --> 00:01:09,280
QUEL DOMMAGE.

23
00:01:27,631 --> 00:01:29,233
OH. DAMN IT.

24
00:01:37,674 --> 00:01:40,944
MADEMOISELLE,
çA VA?

25
00:01:40,977 --> 00:01:42,413
çA VA, MERCI.
UH...

26
00:01:43,547 --> 00:01:46,450
I JUST COMPLETELY FORGOT
HOW TO SAY, "I BROKE MY HEEL."

27
00:01:46,483 --> 00:01:48,252
"JE CASSé
MON TALON."

28
00:01:48,285 --> 00:01:49,953
OF COURSE,
YOU SPEAK ENGLISH.

29
00:01:49,986 --> 00:01:52,189
UN PEU.
UH, MAY I HELP YOU, MISS?

30
00:01:52,223 --> 00:01:53,790
NO,
I'M GOOD.

31
00:01:53,824 --> 00:01:56,193
THANK YOU.
MERCI.

32
00:01:56,227 --> 00:01:58,295
WELL, YOU SURE
I CAN'T OFFER YOU A RIDE?

33
00:01:58,329 --> 00:02:00,731
I CAN TAKE YOU
ANYWHERE YOU LIKE.

34
00:02:02,433 --> 00:02:03,467
SAMANTHA WADE.

35
00:02:03,500 --> 00:02:06,237
ELEMENTARY-SCHOOL TEACHER
FROM NASHVILLE, TENNESSEE,

36
00:02:06,270 --> 00:02:08,372
FOUND THIS MORNING
BY TWO OF HER FRIENDS.

37
00:02:08,405 --> 00:02:11,208
MURDERED AND STAGED IN
THE APARTMENT SHE'D BEEN LEASING

38
00:02:11,242 --> 00:02:12,108
FOR THE PAST THREE WEEKS.

39
00:02:12,142 --> 00:02:14,611
Due to the brutal
and provocative nature

40
00:02:14,645 --> 00:02:16,313
of Samantha Wade's
murder,

41
00:02:16,347 --> 00:02:18,282
our ambassador
and the French foreign minister

42
00:02:18,315 --> 00:02:19,583
have requested
the I.R.T.'s assistance

43
00:02:19,616 --> 00:02:20,851
in the homicide investigation.

44
00:02:20,884 --> 00:02:24,355
AND GIVEN THAT ABOUT TWO MILLION
AMERICANS VISIT PARIS PER YEAR,

45
00:02:24,388 --> 00:02:26,657
NOT TO MENTION AN ADDITIONAL
50,000 ON WORK VISAS,

46
00:02:26,690 --> 00:02:28,392
I'D BET
THEY'D ALSO LIKE US

47
00:02:28,425 --> 00:02:30,627
TO DRAW UP A THREAT ASSESSMENT
TO U.S. CITIZENS.

48
00:02:30,661 --> 00:02:32,629
WELL, THERE'S NOTHING
MORE THREATENING THAN THIS.

49
00:02:32,663 --> 00:02:34,331
WHAT ARE THESE THINGS
IN HER EYES?

50
00:02:34,365 --> 00:02:36,367
FRENCH INVESTIGATORS
HAVE IDENTIFIED THEM

51
00:02:36,400 --> 00:02:37,568
AS TIMBER SCRIBES.

52
00:02:37,601 --> 00:02:40,904
BLADED INSTRUMENTS USED BY LAND
SURVEYORS TO INSCRIBE TREES.

53
00:02:40,937 --> 00:02:43,240
NOT EXACTLY
YOUR GO-TO MURDER WEAPON.

54
00:02:43,274 --> 00:02:45,276
ESPECIALLY IN
AN URBAN ENVIRONMENT.

55
00:02:45,309 --> 00:02:48,345
These tools are really old --
pre-World War I.

56
00:02:48,379 --> 00:02:50,247
NO PRINTS, SO THEY'RE NOT
GONNA HELP US NARROW DOWN

57
00:02:50,281 --> 00:02:51,415
OUR UNSUB'S CURRENT OCCUPATION.

58
00:02:51,448 --> 00:02:52,349
YEAH,
BUT THESE SCRIBES

59
00:02:52,383 --> 00:02:53,784
AREN'T EXACTLY
THE MURDER WEAPONS, EITHER.

60
00:02:53,817 --> 00:02:54,951
I MEAN,
EVEN FROM THESE PHOTOS,

61
00:02:54,985 --> 00:02:56,353
YOU CAN SEE
THAT THE OCULAR INJURIES

62
00:02:56,387 --> 00:02:57,554
AREN'T
HER CAUSE OF DEATH.

63
00:02:57,588 --> 00:02:59,956
BUT I DON'T SEE AN OFFICIAL
AUTOPSY REPORT HERE, MONTY.

64
00:02:59,990 --> 00:03:02,959
The autopsy is being performed
by the Paris coroner

65
00:03:02,993 --> 00:03:04,595
as you guys
sail over the Atlantic.

66
00:03:04,628 --> 00:03:06,397
IT SAYS HERE
THAT LATE LAST NIGHT,

67
00:03:06,430 --> 00:03:08,432
SAMANTHA HAD DINNER
WITH THE SAME TWO FRIENDS

68
00:03:08,465 --> 00:03:10,834
WHO FOUND HER THIS MORNING --
SHEILA MARTIN AND RENEE ALSTON.

69
00:03:10,867 --> 00:03:11,935
ACCORDING TO THEM,

70
00:03:11,968 --> 00:03:14,405
SHE CHOSE TO WALK HOME
WHILE THEY TOOK THE METRO TRAIN.

71
00:03:14,438 --> 00:03:16,540
YEAH, AND THAT WAS AROUND
12:30 A.M. LOCAL TIME.

72
00:03:16,573 --> 00:03:18,709
SO SAMANTHA COULD HAVE EASILY
BEEN FOLLOWED HOME.

73
00:03:18,742 --> 00:03:19,943
SURE.

74
00:03:19,976 --> 00:03:22,513
BUT THERE WERE NOT SIGNS OF
FORCED ENTRY INTO HER APARTMENT.

75
00:03:22,546 --> 00:03:24,381
SO IT'S POSSIBLE
THAT SHE KNEW

76
00:03:24,415 --> 00:03:26,049
OR WAS FAMILIAR WITH
HER ATTACKER.

77
00:03:26,082 --> 00:03:27,284
Except
that the French investigators

78
00:03:27,318 --> 00:03:29,853
are interviewing all of her
known friends and associates,

79
00:03:29,886 --> 00:03:31,988
including Sheila and Renee.

80
00:03:32,022 --> 00:03:33,757
EVERYBODY'S ALIBI
IS CHECKING OUT.

81
00:03:33,790 --> 00:03:36,693
WHICH MEANS SAMANTHA'S ASSAILANT
MIGHT HAVE PRESENTED IN A WAY

82
00:03:36,727 --> 00:03:38,462
THAT FELT COMFORTABLE
TO HER.

83
00:03:38,495 --> 00:03:39,930
WELL, SAFE ENOUGH
TO OPEN THE DOOR.

84
00:03:39,963 --> 00:03:41,598
WELL,
THERE'S ALSO THIS FRENCH SAYING,

85
00:03:41,632 --> 00:03:43,300
SE METTRE LE DOIGT
DANS L'OEIL,

86
00:03:43,334 --> 00:03:44,968
WHICH MEANS
TO PUT YOUR FINGER IN YOUR EYE.

87
00:03:45,001 --> 00:03:47,504
IT'S THE FRENCH EQUIVALENT OF
PUTTING YOUR FOOT IN YOUR MOUTH.

88
00:03:47,538 --> 00:03:48,739
AS IN
TO MAKE A MISTAKE.

89
00:03:48,772 --> 00:03:49,940
A MISTAKE THAT,
OBVIOUSLY,

90
00:03:49,973 --> 00:03:51,475
SOMEONE FELT
SAMANTHA HAD TO PAY FOR.

91
00:03:51,508 --> 00:03:52,709
GOT TO BE MORE TO IT.

92
00:03:52,743 --> 00:03:54,711
I MEAN,
THIS STAGING IS SO EXTREME.

93
00:03:54,745 --> 00:03:57,581
IT'S LIKE HE'S PICTURED IT
IN HIS MIND'S EYE FOR A WHILE,

94
00:03:57,614 --> 00:03:59,416
AND NOW HE'S BRINGING IT
TO LIFE.

95
00:03:59,450 --> 00:04:00,817
WELL,
IF THAT'S THE CASE, JACK,

96
00:04:00,851 --> 00:04:02,419
ALL OF THIS PREPARATION
AND EFFORT,

97
00:04:02,453 --> 00:04:04,321
HE'S DEFINITELY
GOT A TASTE FOR IT NOW.

98
00:04:15,366 --> 00:04:16,967
BON APRèS-MIDI.

99
00:04:31,482 --> 00:04:33,016
JUST A SEC!

100
00:04:35,452 --> 00:04:37,053
PARDON ME, MADEMOISELLE.

101
00:04:37,087 --> 00:04:38,455
YOU LEFT
SOMETHING BEHIND.

102
00:04:50,401 --> 00:04:52,536
NO, PLEASE!

103
00:04:52,569 --> 00:04:55,972
N'AYEZ PAS PEUR.
CESERA BEINTôT.

104
00:05:31,808 --> 00:05:35,879
"THE BONDS BETWEEN OURSELVES
AND ANOTHER PERSON

105
00:05:35,912 --> 00:05:38,048
EXIST ONLY IN OUR MINDS."

106
00:05:38,081 --> 00:05:40,150
MARCEL PROUST.

107
00:05:45,856 --> 00:05:48,525
YOU MUST BE FROM THE FBI,
NO?

108
00:05:48,559 --> 00:05:49,793
YES,
WE ARE.

109
00:05:49,826 --> 00:05:51,862
I'M UNIT CHIEF
JACK GARRETT.

110
00:05:51,895 --> 00:05:54,598
THESE ARE SUPERVISORY
SPECIAL AGENTS

111
00:05:54,631 --> 00:05:56,633
SEGER, JARVIS,
AND SIMMONS.

112
00:05:56,667 --> 00:05:57,634
AND YOU ARE?

113
00:05:57,668 --> 00:05:59,035
COMMISSAIRE PIERRE CLEMENT,

114
00:05:59,069 --> 00:06:01,171
LEAD INSPECTOR,
POLICE JUDICIAIRE.

115
00:06:01,204 --> 00:06:03,474
IF YOU WOULD FOLLOW ME,
PLEASE.

116
00:06:04,541 --> 00:06:07,143
I'M NOT FLUENT
IN THESE JOINT OPERATIONS,

117
00:06:07,177 --> 00:06:10,781
SO YOU MUST FORGIVE ME
IF I DON'T APPRECIATE HAVING,

118
00:06:10,814 --> 00:06:13,450
HOW YOU SAY,
MY HAND HELD.

119
00:06:13,484 --> 00:06:15,786
COMMISSAIRE CLEMENT, WE ARE NOT
HERE TO HOLD YOUR HAND,

120
00:06:15,819 --> 00:06:18,555
JUST LEND OUR EXPERTISE
AND EXPERIENCE.

121
00:06:18,589 --> 00:06:19,556
BIEN SUR.

122
00:06:19,590 --> 00:06:22,493
DURING YOUR FLIGHT,
ANOTHER WOMAN WAS FOUND --

123
00:06:22,526 --> 00:06:23,827
STAGED
IN HER APARTMENT.

124
00:06:23,860 --> 00:06:26,897
INSTEAD OF MUTILATING THE EYES,
HE CUT OFF HER HEAD.

125
00:06:26,930 --> 00:06:27,998
TOOK IT WITH HIM.

126
00:06:28,031 --> 00:06:29,900
ANOTHER
AMERICAN WOMAN?
OUI.

127
00:06:29,933 --> 00:06:31,768
WE HAVE MADE
AN IDENTIFICATION.

128
00:06:33,970 --> 00:06:35,972
BIANCA LEWIS,
37 YEARS OLD,

129
00:06:36,006 --> 00:06:38,709
WORK VISA SAYS SHE WAS EMPLOYED
AS A PUBLICIST.

130
00:06:38,742 --> 00:06:40,677
LIVING IN PARIS
FOR ABOUT 18 MONTHS.

131
00:06:40,711 --> 00:06:43,780
IS THERE ANY CONNECTION BETWEEN
BIANCA LEWIS AND SAMANTHA WADE?

132
00:06:43,814 --> 00:06:46,850
NONE THAT MY INSPECTORS HAVE
BEEN ABLE TO ESTABLISH THUS FAR.

133
00:06:46,883 --> 00:06:49,085
WE'LL FOLLOW UP
WITH VICTIMOLOGY BACK HOME.

134
00:06:49,119 --> 00:06:50,821
BUT RIGHT NOW,
ALL WE KNOW

135
00:06:50,854 --> 00:06:52,088
IS SAMANTHA
WAS A TOURIST

136
00:06:52,122 --> 00:06:56,159
AND BIANCA WAS A TEMPORARY
NON-IMMIGRANT WORKER.

137
00:06:56,192 --> 00:06:59,162
STILL, FEMALE AMERICAN --
BOTH STAYING IN THE
18th ARRONDISSEMENT.

138
00:06:59,195 --> 00:07:00,330
MONTMARTRE --

139
00:07:00,363 --> 00:07:03,233
PART OF THE RIGHT BANK IN
THE NORTHERN SECTION OF CITY.

140
00:07:03,266 --> 00:07:05,168
HEY, GUYS,
TAKE A LOOK AT THIS.

141
00:07:10,240 --> 00:07:12,776
SOMEBODY HAS BEEN SERIOUSLY
OVER-SHARING WITH THE PRESS.

142
00:07:12,809 --> 00:07:14,277
WELL, THAT WOULD BE ME,
MADEMOISELLE.

143
00:07:14,310 --> 00:07:17,548
IN MY EXPERIENCE,
SHARING WITH OUR JOURNALISTS

144
00:07:17,581 --> 00:07:20,951
OFTEN HAS A WAY OF...SHAKING
THE FRUIT OUT OF THE TREE.

145
00:07:20,984 --> 00:07:23,587
AND SMACKING YOU ON THE HEAD,
RIGHT?

146
00:07:23,620 --> 00:07:25,889
LET'S JUST SAY THAT YOUR FAITH
IN THE PRESS CORPS

147
00:07:25,922 --> 00:07:27,824
IS A LITTLE STRONGER
THAN OURS.

148
00:07:27,858 --> 00:07:30,594
SO, I'VE ARRANGED FOR YOU
TO WORK OUT OF THIS ROOM.

149
00:07:30,627 --> 00:07:32,162
AND COPIES
OF ALL OUR REPORTS

150
00:07:32,195 --> 00:07:34,598
WILL BE MADE AVAILABLE
AS SOON AS WE --

151
00:07:34,631 --> 00:07:37,734
ACTUALLY, I'LL NEED TO VISIT
THE BIANCA LEWIS CRIME SCENE

152
00:07:37,768 --> 00:07:39,235
WITH
AGENT SIMMONS HERE.

153
00:07:39,269 --> 00:07:42,272
I'LL ALSO NEED AGENT JARVIS
TO REVIEW THE AUTOPSY FINDINGS

154
00:07:42,305 --> 00:07:44,741
WHILE AGENT SEGER
LOOKS OVER THE EVIDENCE

155
00:07:44,775 --> 00:07:46,843
COLLECTED AT
THE SAMANTHA WADE SCENE.

156
00:07:46,877 --> 00:07:48,679
ANYTHING ELSE YOU REQUIRE,
SIR?

157
00:07:48,712 --> 00:07:49,913
NO,
THAT'S IT.

158
00:07:49,946 --> 00:07:51,147
FOR NOW.

159
00:07:51,181 --> 00:07:53,316
TRES BIEN.

160
00:07:56,853 --> 00:07:58,288
LET'S GET TO WORK.

161
00:07:58,321 --> 00:08:00,891
JUST LIKE
AT SAMANTHA'S APARTMENT.

162
00:08:00,924 --> 00:08:03,026
BIANCA'S BODY
WAS POSED

163
00:08:03,059 --> 00:08:05,261
IN THE SAME AREA OF THE ROOM
AS SAMANTHA'S,

164
00:08:05,295 --> 00:08:07,197
THE SAME
SITTING POSITION...

165
00:08:07,230 --> 00:08:10,033
WITH ALL THE VIOLENCE
CONCENTRATED RIGHT HERE.

166
00:08:10,066 --> 00:08:12,202
EVERYTHING ELSE LOOKS
PRETTY UNDISTURBED.

167
00:08:12,235 --> 00:08:14,871
LIKE BIANCA HAD JUST
COME HOME FROM GROCERY SHOPPING.

168
00:08:14,905 --> 00:08:16,707
THESE BAGS
ARE PRETTY FULL, THOUGH.

169
00:08:16,740 --> 00:08:19,075
MAYBE SOMEBODY HELPED HER
CARRY THEM UP THE STAIRS.

170
00:08:19,109 --> 00:08:20,877
WHAT ARE YOU THINKING,
JACK?

171
00:08:20,911 --> 00:08:21,878
NO ARTERIAL SPRAY.

172
00:08:21,912 --> 00:08:24,715
HE KILLED HER
BEFORE HE REMOVED HER HEAD.

173
00:08:24,748 --> 00:08:25,682
POSTMORTEM MUTILATION.

174
00:08:25,716 --> 00:08:27,751
IT'S LIKE WHAT MAE SAID
ABOUT SAMANTHA'S EYES.

175
00:08:29,019 --> 00:08:30,721
YOU THINK HE TOOK THE HEAD
AS A TROPHY?

176
00:08:30,754 --> 00:08:31,722
IT'S HARD TO SAY.

177
00:08:31,755 --> 00:08:32,923
MAYBE HE THOUGHT
IN THIS CASE,

178
00:08:32,956 --> 00:08:34,658
HAVING A SEVERED HEAD
LYING AROUND

179
00:08:34,691 --> 00:08:36,827
WOULD JUST
CONFUSE HIS MESSAGE.

180
00:08:36,860 --> 00:08:38,962
WELL,
I'M CONFUSED.

181
00:08:38,995 --> 00:08:42,232
WE HAVE ONE WOMAN
WITH GOUGED EYES,

182
00:08:42,265 --> 00:08:44,668
ANOTHER
WITH NO HEAD.

183
00:08:44,701 --> 00:08:47,771
WHAT THE HELL'S
HE TRYING TO SAY,

184
00:08:47,804 --> 00:08:50,306
BESIDES, "I'M A SICK,
MISOGYNISTIC SON OF A BITCH"?

185
00:08:50,340 --> 00:08:55,979
THE STAGING AT BOTH SCENES
WAS DELIBERATE, COMPLICATED.

186
00:08:56,012 --> 00:08:57,748
IT WOULD HAVE TAKEN
A LOT OF TIME.

187
00:08:57,781 --> 00:09:01,117
AND YET OUR UNSUB HAD NO FEAR
OF INTERRUPTION OR DISTRACTION.

188
00:09:01,151 --> 00:09:02,753
BECAUSE YOU THINK
THAT HE KNEW

189
00:09:02,786 --> 00:09:04,788
THEY WERE STAYING
IN THESE APARTMENTS ALONE.

190
00:09:04,821 --> 00:09:07,190
WHICH WOULD SUGGEST THAT
EVEN IF SAMANTHA AND BIANCA
DIDN'T KNOW EACH OTHER,

191
00:09:07,223 --> 00:09:08,892
THEY MIGHT HAVE KNOWN
THE UNSUB.

192
00:09:08,925 --> 00:09:11,962
EXCEPT HE'S COMPLETELY
OBJECTIFIED HIS VICTIMS.

193
00:09:11,995 --> 00:09:14,898
IT'S A LOT HARDER
TO OBJECTIFY SOMEONE

194
00:09:14,931 --> 00:09:17,133
YOU'VE HAD
A RELATIONSHIP WITH...

195
00:09:17,167 --> 00:09:19,002
RATHER THAN
A STRANGER.

196
00:09:19,035 --> 00:09:22,005
SO HOW DO YOU GET TO
KNOW SOMEONE WITHOUT
REALLY KNOWING THEM?

197
00:09:29,913 --> 00:09:30,914
ALL RIGHTY.

198
00:09:30,947 --> 00:09:33,850
THREE YEARS OF COLLEGE FRENCH,
DON'T FAIL ME NOW.

199
00:09:34,918 --> 00:09:36,352
OKAY.

200
00:09:36,386 --> 00:09:38,855
"L'AGRESSION
à COUP DE COUTEAU..."

201
00:09:38,889 --> 00:09:42,392
"THE SHARP-FORCE INJURY
TO EACH EYE OCCURRED..."

202
00:09:42,425 --> 00:09:44,160
"...APRèS LA MORT."

203
00:09:44,194 --> 00:09:47,063
"POSTMORTEM."
GOOD CALL, JARVIS.

204
00:09:47,097 --> 00:09:51,968
"WITH SAMANTHA'S CAUSE DE DéCèS
ACTUALLY BEING ETRANGLEMENT."

205
00:09:52,002 --> 00:09:54,905
STRANGULATION,
BROKEN HYROID BONE.

206
00:09:56,406 --> 00:10:00,243
WHILE BIANCA'S CAUSE OF DEATH
IS...

207
00:10:00,276 --> 00:10:02,946
ALSO ETRANGLEMENT, WOW.

208
00:10:02,979 --> 00:10:04,347
OKAY, "AVANT LA MORT..."

209
00:10:04,380 --> 00:10:07,884
"ANTEMORTEM CONTUSIONS
SUGGEST MANUAL STRANGULATION

210
00:10:07,918 --> 00:10:11,054
PRIOR TO THE CRUDE
DISARTICULATION OF THE HEAD."

211
00:10:11,087 --> 00:10:12,222
HOLD ON.

212
00:10:12,255 --> 00:10:14,825
"ALSO RECOVERED
A FRAGMENT OF METAL,

213
00:10:14,858 --> 00:10:17,160
POSSIBLY A PIECE OF
L'ARME DU CRIME."

214
00:10:17,193 --> 00:10:18,394
THE MURDER WEAPON.

215
00:10:18,428 --> 00:10:20,964
OH, WAY TO BURY THE LEDE, GUYS.

216
00:10:38,949 --> 00:10:40,250
WEIRD.

217
00:10:44,320 --> 00:10:46,189
QUOI DE NEUF,
MON CHER AMI?

218
00:10:46,222 --> 00:10:48,458
HEY, I NEED YOU
TO RUN SOME EVIDENCE FOR ME.

219
00:10:48,491 --> 00:10:50,360
OKAY, BUT YOU DO KNOW
THAT THE FRENCH

220
00:10:50,393 --> 00:10:52,796
PRETTY MUCH INVENTED
FORENSIC SCIENCE, RIGHT?

221
00:10:52,829 --> 00:10:54,364
YEAH. GIVE OR TAKE
A HUNDRED YEARS.

222
00:10:54,397 --> 00:10:57,000
I'M JUST SAYING THAT THEY'VE GOT
A PRETTY GOOD CRIME LAB

223
00:10:57,033 --> 00:10:58,201
RIGHT THERE
IN PARIS.

224
00:10:58,234 --> 00:10:59,970
SO THE CORONER
WAS ABLE TO RECOVER

225
00:11:00,003 --> 00:11:03,006
A PIECE OF THE MURDER WEAPON
FROM BIANCA'S BODY,

226
00:11:03,039 --> 00:11:04,941
AND I KNOW
THAT THEY'RE GONNA MASS-SPEC

227
00:11:04,975 --> 00:11:06,009
THE YOU-KNOW-WHAT
OUT OF IT.

228
00:11:06,042 --> 00:11:08,979
But there is this weird piece
of this symbol on it.

229
00:11:09,012 --> 00:11:12,849
THESE CURVY, WAVY LINES
LOOK LIKE I GOT SOME WORK TO DO.

230
00:11:12,883 --> 00:11:14,885
SO SAMANTHA HAD DINNER
WITH HER FRIENDS

231
00:11:14,918 --> 00:11:16,452
HERE IN THE
10th ARRONDISSEMENT.

232
00:11:16,486 --> 00:11:19,823
AND THEN SHE WALKED BACK TO
HER APARTMENT HERE IN THE 18th.

233
00:11:19,856 --> 00:11:22,025
WE HAVE YET TO DETERMINE
THE PRECISE ROUTE,

234
00:11:22,058 --> 00:11:24,327
SO A BROAD SEARCH
OF CCTV FOOTAGE

235
00:11:24,360 --> 00:11:26,229
HAS TURNED UP
NOTHING YET.

236
00:11:26,262 --> 00:11:27,063
HOWEVER...

237
00:11:27,097 --> 00:11:29,365
IT WOULD APPEAR
SHE ARRIVED HOME,

238
00:11:29,399 --> 00:11:31,034
AND THEN
SOME TIME LATER,

239
00:11:31,067 --> 00:11:33,303
SHE INVITED THE INTRUDER
INSIDE THE PREMISES.

240
00:11:33,336 --> 00:11:35,939
THAT'S A VERY LONG WAY
TO WALK IN THOSE HEELS.

241
00:11:35,972 --> 00:11:39,042
THAT'S WHAT
HER FRIENDS THOUGHT, TOO.

242
00:11:42,813 --> 00:11:45,048
ONE OF THE HEELS
IS BROKEN.

243
00:11:45,081 --> 00:11:48,118
SNAPPED OFF IN THE STRUGGLE
WITH HER ASSAILANT, TO BE SURE.

244
00:11:48,151 --> 00:11:50,020
ARE YOU SURE?

245
00:11:50,053 --> 00:11:51,354
DID YOU SEE
THIS RESIDUE?

246
00:11:51,387 --> 00:11:54,925
I DID NOT PERSONALLY PROCESS
THE VICTIM'S CLOTHES, NO.

247
00:11:54,958 --> 00:11:57,894
BUT I'M NOT SURE
HOW GRAVEL WOULD BE PROBATIVE.

248
00:11:57,928 --> 00:11:58,962
IT'S NOT GRAVEL.

249
00:11:58,995 --> 00:12:01,131
DO YOU SEE HOW IT SORT OF
SHIMMERS IN THE LIGHT?

250
00:12:01,164 --> 00:12:02,298
THIS IS
EPOXY MORTAR.

251
00:12:02,332 --> 00:12:04,968
IT'S USED TO SET, AMONG
OTHER THINGS, COBBLESTONES --

252
00:12:05,001 --> 00:12:06,036
LIKE THE ONES

253
00:12:06,069 --> 00:12:07,470
IN SOME OF YOUR FAMOUS
LITTLE STREETS AROUND HERE.

254
00:12:07,503 --> 00:12:09,973
AGENT SEGER,
THOSE COBBLESTONE STREETS

255
00:12:10,006 --> 00:12:11,507
ARE HUNDREDS
OF YEARS OLD.

256
00:12:11,541 --> 00:12:12,775
EXACTLY.

257
00:12:12,809 --> 00:12:15,111
THAT'S WHY PEOPLE TRAVEL ALL
OVER THE WORLD TO WALK ON THEM.

258
00:12:15,145 --> 00:12:17,247
THE DIRTY LITTLE SECRET
IS SOME OF THOSE STONES

259
00:12:17,280 --> 00:12:19,115
ARE NOT
NEARLY AS OLD AS ADVERTISED.

260
00:12:19,149 --> 00:12:21,184
BIEN SUR,
THEY REQUIRE MAINTENANCE.

261
00:12:21,217 --> 00:12:23,319
AND SOME OF THEM
EVEN NEED TO BE REPLACED.

262
00:12:23,353 --> 00:12:25,388
THAT'S WHERE
THE EPOXY MORTAR COMES IN.

263
00:12:27,157 --> 00:12:30,360
48 HOURS AGO,
SAMANTHA TOOK A WALK

264
00:12:30,393 --> 00:12:32,462
ON A FRESHLY PAVED
COBBLESTONE STREET,

265
00:12:32,495 --> 00:12:35,031
SOMEWHERE BETWEEN THE RESTAURANT
AND HER APARTMENT.

266
00:12:35,065 --> 00:12:37,000
THAT'S WHEN
SHE BROKE HER HEEL.

267
00:12:37,033 --> 00:12:38,601
AND SHE WALKED HOME
FROM THERE.

268
00:12:38,634 --> 00:12:40,170
BUT SHE DIDN'T.

269
00:12:40,203 --> 00:12:43,239
LOOK AT THE AUTOPSY PHOTOS
OF HER FEET.

270
00:12:44,240 --> 00:12:46,376
THERE'S NO SCRATCHES,
NO DIRT --

271
00:12:46,409 --> 00:12:49,545
NOTHING TO SUGGEST THAT
SHE WALKED BAREFOOT ANYWHERE.

272
00:12:49,579 --> 00:12:52,082
SHE GOT A RIDE
BACK TO HER APARTMENT.

273
00:12:52,115 --> 00:12:54,150
I SUPPOSE SHE COULD HAVE
HAILED A TAXI.

274
00:12:54,184 --> 00:12:55,185
EXACTLY.

275
00:12:55,218 --> 00:12:58,221
FROM A STREET THAT HAD
HAD RECENT ROAD WORK DONE.

276
00:12:58,254 --> 00:13:01,191
AND IF WE'RE LUCKY, SOME SORT
OF SURVEILLANCE CAMERA.

277
00:13:01,224 --> 00:13:02,558
PUTTING MAE'S
METAL FRAGMENT ASIDE,

278
00:13:02,592 --> 00:13:04,961
I FOUND THE STREET THAT
YOU'RE LOOKING FOR, CLARA --

279
00:13:04,995 --> 00:13:05,962
COUR DES RêVES.

280
00:13:05,996 --> 00:13:07,330
RIGHT,
BUT COMMISSAIRE CLEMENT SAID

281
00:13:07,363 --> 00:13:09,065
THAT THERE WERE
NO CCTV CAMERAS NEARBY.

282
00:13:09,099 --> 00:13:10,300
He is correct.

283
00:13:10,333 --> 00:13:12,068
HOWEVER,
THERE'S AN AMERICAN BANK

284
00:13:12,102 --> 00:13:14,637
ON A NEARBY CORNER WITH A CAMERA
THAT CAPTURED THIS.

285
00:13:14,670 --> 00:13:16,406
THEY WERE KIND ENOUGH TO SEND ME
THE SECURITY-CAMERA FOOTAGE.

286
00:13:16,439 --> 00:13:19,109
THAT'S NOT A TAXI.

287
00:13:19,142 --> 00:13:20,643
IS THAT THE BEST IMAGE WE HAVE
OF THE DRIVER?

288
00:13:20,676 --> 00:13:21,711
I AM AFRAID SO.

289
00:13:21,744 --> 00:13:24,080
OH, IT DOESN'T LOOK LIKE
SHE KNOWS THIS GUY.

290
00:13:24,114 --> 00:13:25,281
YEAH,
IT'S SO WEIRD.

291
00:13:25,315 --> 00:13:26,950
I MEAN, NOT ONLY DOES SHE
GET INTO A CAR WITH A STRANGER,

292
00:13:26,983 --> 00:13:28,118
BUT SHE GETS
INTO THE BACKSEAT.

293
00:13:28,151 --> 00:13:30,120
THERE'S NO RECORD OF SAMANTHA
REQUESTING A RIDE-SHARE.

294
00:13:30,153 --> 00:13:32,155
WHAT IF
IT WAS A GYPSY CAB?

295
00:13:32,188 --> 00:13:33,389
GYPSY CAB
IN PARIS?

296
00:13:33,423 --> 00:13:34,925
HOLD ON.

297
00:13:34,958 --> 00:13:37,093
WAIT.
WHAT'S THAT RIGHT THERE --

298
00:13:37,127 --> 00:13:38,995
HANGING FROM
THE REARVIEW MIRROR?

299
00:13:39,029 --> 00:13:40,563
IT LOOKS LIKE
A HACKNEY HORSE.

300
00:13:40,596 --> 00:13:43,099
WHICH IS A RECENT SYMBOL
FOR GYPSY CABS IN THE CITY.

301
00:13:43,133 --> 00:13:45,301
AND THAT'S HOW YOU GET TO KNOW
SOMEONE WITHOUT KNOWING THEM.

302
00:13:45,335 --> 00:13:48,271
OUR UNSUB
DRIVES A GYPSY CAB.

303
00:13:48,304 --> 00:13:50,006
MAKES PERFECT SENSE --
HE NEEDS A WAY TO LEARN

304
00:13:50,040 --> 00:13:52,008
IF HIS PROSPECTIVE VICTIMS
ARE AMERICAN, LIVING ALONE.

305
00:13:52,042 --> 00:13:52,943
THIS WAY,
HE GETS TO INTERVIEW THEM.

306
00:13:52,976 --> 00:13:55,111
IT'S KIND OF LIKE
"TAXI CAB CONFESSIONS."

307
00:13:55,145 --> 00:13:56,980
I MEAN, TAXI-CAB DRIVERS
AND BARTENDERS --

308
00:13:57,013 --> 00:13:58,014
THEY'RE ALWAYS
THE STRANGERS

309
00:13:58,048 --> 00:14:00,050
THAT WE FEEL THE MOST
COMFORTABLE CONFIDING IN.

310
00:14:00,083 --> 00:14:01,551
BECAUSE
THEY ARE SHARED INTIMACIES

311
00:14:01,584 --> 00:14:03,186
WE WANT TO BELIEVE
ARE FLEETING

312
00:14:03,219 --> 00:14:04,587
AND DON'T HAVE
A LASTING IMPACT.

313
00:14:04,620 --> 00:14:06,189
AT LEAST WE HAVE
THE IMAGE OF THE VEHICLE.

314
00:14:06,222 --> 00:14:08,258
THIS PARTIAL LICENSE-PLATE
NUMBER WON'T GET US VERY FAR.

315
00:14:08,291 --> 00:14:10,160
IT WON'T
GET US ANYWHERE.

316
00:14:10,193 --> 00:14:11,962
THOSE PLATES ARE STOLEN.

317
00:14:11,995 --> 00:14:14,197
AND I GOT TO BE HONEST,
IT'S NOT GONNA BE THAT EASY

318
00:14:14,230 --> 00:14:16,266
TRACKING DOWN
THIS ONE PARTICULAR VEHICLE.

319
00:14:16,299 --> 00:14:19,202
THERE'S AT LEAST 25,000 OF THEM
REGISTERED IN PARIS ALONE.

320
00:14:19,235 --> 00:14:21,171
WELL, WE CAN START
BY HAVING THE LOCAL POLICE

321
00:14:21,204 --> 00:14:22,305
SWEEP THE
18th ARRONDISSEMENT.

322
00:14:22,338 --> 00:14:25,275
WELL, THAT'S A START,
BUT OUR UNSUB'S HUNTING GROUND

323
00:14:25,308 --> 00:14:26,276
IS GONNA EXPAND

324
00:14:26,309 --> 00:14:28,511
WHEREVER HE CAN FIND
A VULNERABLE AMERICAN WOMAN.

325
00:14:28,544 --> 00:14:30,513
AND WITH 2 VICTIMS
IN LESS THAN 48 HOURS,

326
00:14:30,546 --> 00:14:33,083
HE'S ALREADY HUNTING
FOR HIS NEXT VICTIM RIGHT NOW.

327
00:14:59,775 --> 00:15:02,578
HEY, HEY.
BONJOUR.

328
00:15:02,612 --> 00:15:06,616
UH, JE VEUX
QUE VOUS ME CHASSEZ...

329
00:15:06,649 --> 00:15:08,351
SORRY. PARDON.

330
00:15:08,384 --> 00:15:10,253
UM, PEUX TU --

331
00:15:10,286 --> 00:15:12,989
OH, IT'S ALL RIGHT,
MADEMOISELLE. I DO
SPEAK ENGLISH.

332
00:15:13,023 --> 00:15:14,724
OH!
SERIOUSLY?

333
00:15:14,757 --> 00:15:16,026
THAT'S AWESOME.

334
00:15:16,059 --> 00:15:17,660
I CAN TAKE YOU
ANYWHERE YOU LIKE.

335
00:15:17,693 --> 00:15:19,362
HOW ABOUT
17 RUE DE FOSS?

336
00:15:24,667 --> 00:15:26,769
WHERE ARE YOU FROM,
THEN?

337
00:15:26,802 --> 00:15:28,471
SAN DIEGO, CALIFORNIA.

338
00:15:28,504 --> 00:15:29,472
AH.

339
00:15:29,505 --> 00:15:31,174
AND WHAT BRINGS YOU
TO PARIS?

340
00:15:31,207 --> 00:15:33,743
A MUSIC INTERNSHIP --
I PLAY PIANO.

341
00:15:33,776 --> 00:15:36,346
IN THE CAFE WHERE YOU WORK,
I PRESUME?

342
00:15:36,379 --> 00:15:38,114
NO, I JUST NEED
SOME EXTRA CASH.

343
00:15:38,148 --> 00:15:40,383
AND IT'S HELPING ME
IMPROVE MY FRENCH.

344
00:15:41,451 --> 00:15:43,353
SO, UH,
17 RUE DE FOSS.

345
00:15:43,386 --> 00:15:45,688
THAT IS NOT
A HOSTEL OR HOTEL.

346
00:15:45,721 --> 00:15:48,724
NO, YEAH,
I'M STAYING WITH A FRIEND.

347
00:15:48,758 --> 00:15:51,227
AH.
A BOYFRIEND?

348
00:15:51,261 --> 00:15:53,696
I WISH.

349
00:15:53,729 --> 00:15:55,398
YOU MUST HAVE
A SPECIAL BOYFRIEND,

350
00:15:55,431 --> 00:15:57,733
A BEAUTIFUL BUTTERFLY
LIKE YOU.

351
00:15:57,767 --> 00:15:59,335
OH,
NOT SO MUCH.

352
00:15:59,369 --> 00:16:01,271
HMM.

353
00:16:01,304 --> 00:16:02,538
AND, UH...

354
00:16:02,572 --> 00:16:06,442
HOW ARE YOU GETTING ALONG WITH
THIS FRIEND YOU'RE STAYING WITH?

355
00:16:07,443 --> 00:16:08,644
YOU KNOW WHAT?

356
00:16:08,678 --> 00:16:11,347
UM, DO YOU MIND JUST LETTING ME
OUT UP AT THE CORNER UP HERE?

357
00:16:11,381 --> 00:16:12,315
BUT WE'RE NOT
AT YOUR APARTMENT.

358
00:16:12,348 --> 00:16:14,584
NO, I KNOW, THAT'S OKAY.
JUST RIGHT UP HERE.

359
00:16:14,617 --> 00:16:17,187
NO, IT'S NOT.
IT'S NOT SAFE HERE.

360
00:16:17,220 --> 00:16:20,323
OKAY, LOOK, FRANCOIS,
I WANT OUT NOW!

361
00:16:26,529 --> 00:16:28,464
YOU LET ME OUT RIGHT NOW,
OR I'M SENDING THIS TO THE COPS.

362
00:16:28,498 --> 00:16:29,465
DO YOU HEAR ME?

363
00:16:30,633 --> 00:16:32,635
WHAT THE HELL
ARE YOU DOING?!

364
00:16:46,449 --> 00:16:48,384
KATHERINE BARKER, 25.

365
00:16:48,418 --> 00:16:51,387
A MUSIC INTERN
FROM SAN DIEGO, CALIFORNIA.

366
00:16:51,421 --> 00:16:54,590
SHE WAS DISCOVERED IN AN ALLEY
IN THE 2nd ARRONDISSEMENT.

367
00:16:54,624 --> 00:16:58,228
HE LITERALLY TORE OUT HER HEART
AND STUCK IT IN HER HANDS.

368
00:16:58,261 --> 00:16:59,862
LOOKS LIKE SHE SUFFERED
COMPOUND FRACTURES TO HER LEGS

369
00:16:59,895 --> 00:17:00,863
AND HER PELVIS.

370
00:17:00,896 --> 00:17:04,334
AND THAT TELLS ME
THAT HE TORE HER HEART OUT

371
00:17:04,367 --> 00:17:05,368
AFTER
HE RAN HER OVER.

372
00:17:05,401 --> 00:17:07,237
BUT WHY CHANGE
THE PATTERN HERE?

373
00:17:07,270 --> 00:17:09,572
WHY STAGE THE BODY IN AN ALLEY,
NOT HER OWN APARTMENT?

374
00:17:09,605 --> 00:17:11,507
BECAUSE KATHERINE
FOUGHT BACK.

375
00:17:11,541 --> 00:17:12,875
SHE TRIED
TO GET AWAY.

376
00:17:12,908 --> 00:17:15,345
THESE ABRASIONS ON HER FACE,
ALONG HER LEGS --

377
00:17:15,378 --> 00:17:16,312
IT'S ROAD RASH,

378
00:17:16,346 --> 00:17:18,614
I'D SAY FROM JUMPING OUT
OF A MOVING VEHICLE.

379
00:17:18,648 --> 00:17:20,516
SO NOW WE'RE LOOKING AT
3 VICTIMS

380
00:17:20,550 --> 00:17:21,651
IN THE SPAN
OF 72 HOURS.

381
00:17:21,684 --> 00:17:23,353
AND GIVEN
THAT OUR UNSUB

382
00:17:23,386 --> 00:17:25,855
NEEDS TO FIND AN AMERICAN WOMAN
IN A FOREIGN CITY,

383
00:17:25,888 --> 00:17:28,458
IT'S AS IF HE DOESN'T HAVE
A COOLING-OFF PERIOD.

384
00:17:28,491 --> 00:17:31,361
I THINK IT'S TIME WE SPEAK TO
THE PUBLIC ABOUT WHAT WE KNOW.

385
00:17:31,394 --> 00:17:32,428
OFFER THEM A WARNING

386
00:17:32,462 --> 00:17:34,530
TO AVOID CONTACT WITH THE DRIVER
OF THIS GYPSY CAB,

387
00:17:34,564 --> 00:17:37,367
IMPLORE THEM TO NOTIFY
US IMMEDIATELY IF THEY
SHOULD SEE HIM.

388
00:17:37,400 --> 00:17:39,535
THAT STRATEGY
CUTS BOTH WAYS.

389
00:17:39,569 --> 00:17:40,803
"CUTS BOTH WAYS" --
WHAT DO YOU MEAN?

390
00:17:40,836 --> 00:17:44,640
NO DOUBT A WARNING WILL PROTECT
THE PUBLIC IN THE NEAR TERM.

391
00:17:44,674 --> 00:17:47,710
WHAT WE'RE CONCERNED WITH
IS IF WE'RE NOT ABLE

392
00:17:47,743 --> 00:17:50,546
TO APPREHEND THE UNSUB
IMMEDIATELY AFTERWARDS,

393
00:17:50,580 --> 00:17:52,882
THEN HE MIGHT RESPOND
BY ABANDONING THE CAR.

394
00:17:52,915 --> 00:17:54,784
AND RIGHT NOW,
AS LONG AS HE FEELS COMFORTABLE

395
00:17:54,817 --> 00:17:57,253
BEHIND THAT WHEEL, THEN WE HAVE
A CHANCE OF CATCHING HIM.

396
00:17:57,287 --> 00:17:58,421
BUT IF
HE DITCHES THAT CAR,

397
00:17:58,454 --> 00:18:00,723
NOT ONLY WILL IT MAKE IT HARDER
FOR US TO TRACK HIM DOWN,

398
00:18:00,756 --> 00:18:03,559
IT WILL FORCE HIM
TO ALTER HIS M.O. EVEN FURTHER.

399
00:18:03,593 --> 00:18:06,596
SO YOU'RE TELLING ME I'M DAMNED
IF I DO, DAMNED IF I DON'T.

400
00:18:06,629 --> 00:18:07,597
WE NEED MORE TIME.

401
00:18:07,630 --> 00:18:10,266
LETTING THE UNSUB KNOW
WHAT WE KNOW RIGHT NOW

402
00:18:10,300 --> 00:18:12,435
IS REALLY
A NUCLEAR OPTION.

403
00:18:12,468 --> 00:18:15,538
I WILL WAIT THEN --
UNTIL MORNING.

404
00:18:15,571 --> 00:18:18,341
THEN WE SOUND
THE ALARMS.

405
00:19:16,766 --> 00:19:18,534
So what did I tell you,
Mae? The French

406
00:19:18,568 --> 00:19:20,002
ran a radiocarbon dating
on the metal fragment

407
00:19:20,035 --> 00:19:22,472
THAT WAS RECOVERED
FROM BIANCA LEWIS' BODY.

408
00:19:22,505 --> 00:19:24,006
TURNS OUT TO BE
AN IRON COMPOSITE

409
00:19:24,039 --> 00:19:26,876
THAT WAS SMELTED DOWN INTO WHAT
IS ESSENTIALLY A HAND SAW --

410
00:19:26,909 --> 00:19:28,711
SOME TIME IN THE LATE
19th CENTURY.

411
00:19:28,744 --> 00:19:30,546
WELL, I'M GONNA GO OUT
ON A LIMB AND SAY

412
00:19:30,580 --> 00:19:32,715
THIS PROBABLY WON'T
HELP US NARROW DOWN
OUR UNSUB'S IDENTITY.

413
00:19:32,748 --> 00:19:34,650
MAYBE,
BUT IT DID HELP ME IDENTIFY

414
00:19:34,684 --> 00:19:36,752
THOSE WEIRD WAVY LINES
ETCHED INTO THE FRAGMENT.

415
00:19:36,786 --> 00:19:39,589
Now, because the timber scribes
and the hand saw

416
00:19:39,622 --> 00:19:41,591
are both very old
and very French,

417
00:19:41,624 --> 00:19:43,626
I did some digging
and discovered a logo

418
00:19:43,659 --> 00:19:45,961
for a once-renowned
wood-craftsman company

419
00:19:45,995 --> 00:19:47,029
out of Marseilles.

420
00:19:47,062 --> 00:19:48,864
LE LION DE L'EAU.

421
00:19:48,898 --> 00:19:52,568
COMPANY WAS FOUNDED
BY THE BOULANGER FAMILY IN 1880.

422
00:19:52,602 --> 00:19:56,038
IT REMAINED FAMILY-OWNED
UNTIL IT WAS SOLD IN 1987.

423
00:19:56,071 --> 00:19:58,574
AND WHATEVER HAPPENED AFTER THAT
TO EITHER THE COMPANY

424
00:19:58,608 --> 00:20:01,677
OR THE BOULANGER FAMILY WAS NOT
UPLOADED FOR DIGITAL POSTERITY.

425
00:20:01,711 --> 00:20:02,812
SO WHAT
ARE WE THINKING?

426
00:20:02,845 --> 00:20:04,647
IF OUR UNSUB'S
WEAPONS OF CHOICE

427
00:20:04,680 --> 00:20:06,549
CAN BE LOOSELY TRACED BACK
TO THIS COMPANY,

428
00:20:06,582 --> 00:20:08,951
THEN IS HE A POSSIBLE RELATIVE
OF THE BOULANGER FAMILY?

429
00:20:08,984 --> 00:20:11,921
OR A SUBSIDIARY THAT ACQUIRED
SOME OF THE COMPANY'S ASSETS.

430
00:20:11,954 --> 00:20:13,055
YOUR GUESS
IS AS GOOD AS MINE.

431
00:20:13,088 --> 00:20:14,624
We don't have time
for guesswork.

432
00:20:14,657 --> 00:20:16,892
WE NEED TO BE ABLE TO PROVIDE
CLEMENT AND HIS PEOPLE

433
00:20:16,926 --> 00:20:18,027
WITH A WORKABLE PROFILE,

434
00:20:18,060 --> 00:20:20,530
OTHERWISE HE'S GONNA RELEASE
THE INFORMATION WE HAVE

435
00:20:20,563 --> 00:20:21,631
TO THE PUBLIC.

436
00:20:21,664 --> 00:20:23,366
SO LET'S
GO OVER IT AGAIN.

437
00:20:23,399 --> 00:20:25,868
OKAY, WE'RE LOOKING FOR SOMEONE
WHO IS CRIMINALLY SOPHISTICATED,

438
00:20:25,901 --> 00:20:29,605
STRONG, PATIENT, WHICH SUGGESTS
TO ME AN OLDER MALE,

439
00:20:29,639 --> 00:20:30,840
PROBABLY IN HIS 40s.

440
00:20:30,873 --> 00:20:32,908
HUNTING FOR
THE RIGHT VICTIM TAKES TIME,

441
00:20:32,942 --> 00:20:34,677
SO IT DOESN'T LOOK LIKE
HE HAS A JOB.

442
00:20:34,710 --> 00:20:35,878
UNLESS THE GYPSY-CAB THING
IS LEGIT

443
00:20:35,911 --> 00:20:38,448
AND HE'S ONLY STRIKING WHEN
THE VICTIM IS THE RIGHT TYPE.

444
00:20:38,481 --> 00:20:39,782
YEAH, AND BASED ON
HIS STAGING OF THE BODIES

445
00:20:39,815 --> 00:20:40,883
AT THE LAST CRIME SCENE,

446
00:20:40,916 --> 00:20:44,086
IT APPEARS TO ME THAT KATHERINE,
BIANCA, AND SAMANTHA

447
00:20:44,119 --> 00:20:47,657
ARE ALL SURROGATES
FOR OUR UNSUB'S TRUE TARGET,

448
00:20:47,690 --> 00:20:49,559
AND THEIR MURDERS
ARE PROBABLY A MEANS

449
00:20:49,592 --> 00:20:51,727
TO BUILD HIS COURAGE
AND CONFIDENCE

450
00:20:51,761 --> 00:20:53,729
IN ORDER
TO COMMIT THE ULTIMATE ACT.

451
00:20:53,763 --> 00:20:55,064
SO SOMEWHERE OUT THERE
IS AN AMERICAN WOMAN

452
00:20:55,097 --> 00:20:56,732
WHO BROKE
THIS GUY'S HEART.

453
00:20:56,766 --> 00:20:59,569
OR REJECTED HIM OR
COMMITTED SOME PERCEIVED SLIGHT

454
00:20:59,602 --> 00:21:02,037
THAT HE NOW FEELS
THAT HE HAS TO REDRESS --

455
00:21:02,071 --> 00:21:04,073
IN THE MOST BRUTAL WAY
POSSIBLE.

456
00:21:04,106 --> 00:21:07,309
JACK?

457
00:21:14,149 --> 00:21:16,352
CLEMENT
IS DROPPING THE BOMB.

458
00:22:00,996 --> 00:22:02,798
YOU WERE RIGHT.

459
00:22:02,832 --> 00:22:05,701
HE ABANDONED HIS VEHICLE
IN ENTREPôT --

460
00:22:05,735 --> 00:22:07,437
THE 10th ARRONDISSEMENT.

461
00:22:07,470 --> 00:22:09,739
HE LEFT NOTHING BEHIND
FOR US.

462
00:22:09,772 --> 00:22:11,607
I KNOW
YOU BELIEVE

463
00:22:11,641 --> 00:22:14,910
I HAVE ALTERED THIS MONSTER'S
BEHAVIOR UNPREDICTABLY.

464
00:22:14,944 --> 00:22:17,813
BUT I WOULD LIKE TO BELIEVE
I STALLED HIS PROGRESS.

465
00:22:17,847 --> 00:22:20,149
HE WILL MOST CERTAINLY
NEED ANOTHER CAR

466
00:22:20,182 --> 00:22:22,151
IN ORDER
TO MAINTAIN HIS DECEIT.

467
00:22:22,184 --> 00:22:23,819
IF HE MAINTAINS
HIS DECEIT.

468
00:22:23,853 --> 00:22:25,588
HE COULD JUST
GO INTO A TAILSPIN --

469
00:22:25,621 --> 00:22:26,722
YOU NEED
TO DOUBLE DOWN.

470
00:22:26,756 --> 00:22:28,558
CALL IN REINFORCEMENTS
IF YOU HAVE TO.

471
00:22:28,591 --> 00:22:30,793
YOUR DEPARTMENT
NEEDS TO SHOW OVERWHELMING FORCE

472
00:22:30,826 --> 00:22:32,161
ON THE STREETS
OF PARIS TONIGHT

473
00:22:32,194 --> 00:22:34,096
AND EVERY NIGHT
UNTIL WE CATCH THIS MAN.

474
00:22:34,129 --> 00:22:35,798
THIS UNSUB
NEEDS TO FEEL YOUR BREATH

475
00:22:35,831 --> 00:22:37,066
ON THE BACK OF HIS NECK
AT ALL TIMES,

476
00:22:37,099 --> 00:22:39,669
AND EVERY AMERICAN
WOMAN OUT THERE WHO
COULD BE HIS NEXT VICTIM

477
00:22:39,702 --> 00:22:42,672
NEEDS TO FEEL LIKE THERE'S
A COP ON EVERY CORNER WHO'S
THERE TO PROTECT THEM.

478
00:22:42,705 --> 00:22:44,440
I WILL DO
WHAT I CAN.

479
00:22:46,809 --> 00:22:49,679
ALL RIGHT, WE NEED TO FOCUS
ON A POSSIBLE CONNECTION

480
00:22:49,712 --> 00:22:51,881
BETWEEN OUR UNSUB
AND THE BOULANGER FAMILY

481
00:22:51,914 --> 00:22:54,216
OR THIS CRAFTSMAN COMPANY
IN MARSEILLES.

482
00:22:54,249 --> 00:22:56,686
AND WE NEED TO FIND SOME WAY
TO GET OUR HANDS ON HARD COPIES

483
00:22:56,719 --> 00:22:57,953
OF ALL THOSE RECORDS
AND HISTORIES.

484
00:22:57,987 --> 00:22:59,522
ALL RIGHT,
I'M ON IT.

485
00:23:20,009 --> 00:23:21,711
MADEMOISELLE,
DO YOU SPEAK ENGLISH?

486
00:23:21,744 --> 00:23:22,878
ENGLISH?

487
00:23:22,912 --> 00:23:24,046
YES.

488
00:23:24,079 --> 00:23:25,681
ARE YOU AMERICAN,
BY CHANCE?

489
00:23:31,854 --> 00:23:33,088
AY, AY, AY!

490
00:24:36,619 --> 00:24:38,621
HER NAME IS
ALEXANDRA LAFAYETTE.

491
00:24:38,654 --> 00:24:40,956
HER HUSBAND CAME HOME LAST NIGHT
AND STARTLED AN INTRUDER,

492
00:24:40,990 --> 00:24:42,124
WHO ESCAPED.

493
00:24:42,157 --> 00:24:43,959
BUT THAT'S
WHEN HE FOUND HER.

494
00:24:44,894 --> 00:24:45,795
SHE'S FRENCH?

495
00:24:45,828 --> 00:24:49,599
MY INSPECTORS
DIDN'T IMMEDIATELY CONNECT HER

496
00:24:49,632 --> 00:24:52,768
WITH THE AMERICAN WOMEN
UNTIL THEY SAW THIS.

497
00:24:58,874 --> 00:25:00,275
LOOKS LIKE A BUTTERFLY.

498
00:25:00,309 --> 00:25:02,011
I DON'T UNDERSTAND.

499
00:25:02,044 --> 00:25:06,181
HE FILLED HER STOMACH
FULL OF DEAD BUTTERFLIES.

500
00:25:06,215 --> 00:25:07,650
YEAH, BUT IT DOESN'T LOOK LIKE
ANY KIND OF BUTTERFLY

501
00:25:07,683 --> 00:25:08,851
I'VE EVER SEEN BEFORE.

502
00:25:08,884 --> 00:25:11,621
HE DIDN'T TAKE THE TIME
TO STAGE HER BODY AT THE SCENE.

503
00:25:11,654 --> 00:25:14,590
AS I SAID, MADAME LAFAYETTE'S
HUSBAND WALKED IN ON HIM.

504
00:25:14,624 --> 00:25:17,092
YEAH, BUT HOW DID HE NOT
KNOW THAT SHE WAS LIVING
WITH HER HUSBAND?

505
00:25:17,126 --> 00:25:19,361
I MEAN, DO YOU THINK THAT HE
DIDN'T HAVE A CHANCE TO ASK HER?

506
00:25:19,394 --> 00:25:21,163
OR MAYBE
HE NO LONGER CARES.

507
00:25:21,196 --> 00:25:22,364
WHY WOULDN'T HE CARE?

508
00:25:22,397 --> 00:25:23,933
IT'S A TERRIBLE RISK.

509
00:25:23,966 --> 00:25:26,736
BECAUSE MAYBE
HE DOESN'T HAVE TIME TO CARE

510
00:25:26,769 --> 00:25:28,904
IF HIS VICTIMS
ARE AMERICAN OR FRENCH.

511
00:25:28,938 --> 00:25:30,606
AND NOW
ANY VULNERABLE WOMAN WILL DO.

512
00:25:30,640 --> 00:25:32,908
HE HAS TO FINISH WHAT HE STARTED
BEFORE IT'S TOO LATE.

513
00:25:32,942 --> 00:25:34,677
TOO LATE FOR WHAT,
MADEMOISELLE?

514
00:25:34,710 --> 00:25:36,879
WELL, FOR ONE THING,
HE KNOWS THAT WE'RE ON TO HIM.

515
00:25:36,912 --> 00:25:39,314
AND IT'S JUST A MATTER OF TIME
BEFORE WE SHUT HIM DOWN, RIGHT?

516
00:25:39,348 --> 00:25:41,684
RIGHT, BUT I THINK THERE'S
SOMETHING ELSE APPLYING
PRESSURE TO HIM,

517
00:25:41,717 --> 00:25:43,185
FORCING HIM TO ACCELERATE
HIS MISSION,

518
00:25:43,218 --> 00:25:44,319
ITS STATEMENT.

519
00:25:44,353 --> 00:25:47,222
AND THIS TIME, IT'S HIS
BUTTERFLIES IN THE STOMACH.

520
00:25:47,256 --> 00:25:49,124
THAT IS
WHAT HE WAS TRYING TO SAY.

521
00:25:49,158 --> 00:25:51,661
I THINK WE'VE BEEN
LOOKING AT THESE MURDERS

522
00:25:51,694 --> 00:25:53,162
LIKE THEY'RE JUST
REHEARSALS.

523
00:25:53,195 --> 00:25:55,631
BUT MAYBE
THEY'RE THE MAIN EVENT.

524
00:25:55,665 --> 00:25:57,099
HOW DO YOU FIGURE?

525
00:25:57,132 --> 00:25:59,401
I THINK OUR VISCERAL REACTION
TO THE BRUTALITY HERE

526
00:25:59,434 --> 00:26:01,671
IS KEEPING US
FROM SEEING THE SCENE

527
00:26:01,704 --> 00:26:03,138
FROM THE UNSUB'S
POINT OF VIEW.

528
00:26:03,172 --> 00:26:05,875
I HAVE BUTTERFLIES
IN MY STOMACH.

529
00:26:08,243 --> 00:26:11,881
I HAVE MY HEART
IN MY HANDS.

530
00:26:11,914 --> 00:26:13,849
I LOST MY HEAD.

531
00:26:15,250 --> 00:26:16,418
AND I AM BLINDED
BY LOVE.

532
00:26:16,451 --> 00:26:17,887
THIS IS NOT LOVE.

533
00:26:17,920 --> 00:26:19,889
THIS IS VICIOUS
AND CRUEL.

534
00:26:19,922 --> 00:26:22,792
YES, BUT, YOU SEE, THEY
AREN'T EITHER OF THOSE
THINGS TO OUR UNSUB.

535
00:26:22,825 --> 00:26:24,426
TO HIM, THESE CRIME SCENES
ARE A WAY

536
00:26:24,459 --> 00:26:26,028
FOR HIM TO TRY
AND EXPRESS HIMSELF.

537
00:26:26,061 --> 00:26:28,363
YEAH, AND YOU THINK THAT
HE'S TRYING TO EXPRESS HIMSELF

538
00:26:28,397 --> 00:26:30,700
TO THIS IDEALIZED
AMERICAN WOMAN?

539
00:26:30,733 --> 00:26:31,834
I DO.

540
00:26:31,867 --> 00:26:33,836
I THINK HE IS TRYING TO TELL HER
HOW SHE MAKES HIM FEEL.

541
00:26:33,869 --> 00:26:36,305
IT'S LIKE A SERIES OF SICK,
TWISTED VALENTINES.

542
00:26:36,338 --> 00:26:37,306
SO YOU DON'T THINK
SHE'S A TARGET.

543
00:26:37,339 --> 00:26:39,374
I THINK SHE'S
THE OBJECT OF HIS AFFECTIONS,

544
00:26:39,408 --> 00:26:41,376
AND HE WILL TRY AND REACH OUT
TO HER FOR SURE.

545
00:26:41,410 --> 00:26:44,213
BUT IF AND WHEN SHE REJECTS
HIS AFFECTIONS...

546
00:26:44,246 --> 00:26:46,081
HE WILL FEEL BETRAYED
BY LOVE

547
00:26:46,115 --> 00:26:48,050
AND ULTIMATELY
LASH OUT ON HER.

548
00:26:48,083 --> 00:26:50,352
LET US PRESUME YOU'RE CORRECT,
AGENT SEGER.

549
00:26:50,385 --> 00:26:52,254
IF WE CAN'T FIND
THIS MAN,

550
00:26:52,287 --> 00:26:54,223
PERHAPS WE FIND
THIS WOMAN.

551
00:26:54,256 --> 00:26:57,392
I JUST KNOW IF SHE WILL BE
ANY EASIER TO FIND THAN HIM.

552
00:26:57,426 --> 00:27:00,462
YEAH, BUT LET'S NOT FORGET ABOUT
THESE GUYS HERE.

553
00:27:00,495 --> 00:27:02,231
I MEAN...

554
00:27:02,264 --> 00:27:06,268
SOMETHING TELLS ME THAT THIS
BUTTERFLY EFFECT MAY JUST --

555
00:27:06,301 --> 00:27:07,770
HOW DID YOU SAY IT,
COMMISSAIRE CLEMENT?

556
00:27:07,803 --> 00:27:09,304
SHAKE THE FRUIT
OUT OF THE TREE?

557
00:27:12,307 --> 00:27:15,077
Say hello
to my little friend.

558
00:27:15,110 --> 00:27:18,080
UDASPES FOLUS -- A.K.A.
THE GRASS DEMON BUTTERFLY.

559
00:27:18,113 --> 00:27:21,350
NOT ONLY DOES HE NOT NORMALLY
RESIDE IN YOUR INTESTINES,

560
00:27:21,383 --> 00:27:24,219
BUT HE'S A NON-NATIVE
TO THE EUROPEAN CONTINENT.

561
00:27:24,253 --> 00:27:26,488
HE PREFERS INDIA
AND SOUTHEAST ASIA.

562
00:27:26,521 --> 00:27:28,991
SO OUR UNSUB EITHER GETS HOLD
OF THESE DEMON BUTTERFLIES

563
00:27:29,024 --> 00:27:30,459
BY IMPORTING THEM
OR STEALING THEM.

564
00:27:30,492 --> 00:27:32,828
LET'S GO WITH
WHAT'S BEHIND DOOR NUMBER TWO.

565
00:27:32,862 --> 00:27:35,765
IMPORT RECORDS SHOW A DELIVERY
WAS MADE TO THE PARIS AREA

566
00:27:35,798 --> 00:27:39,201
ABOUT NINE MONTHS AGO,
TO MAISON DES PAPILLONS,

567
00:27:39,234 --> 00:27:41,470
WHICH IS LITERALLY
"HOUSE O' BUTTERFLIES."

568
00:27:41,503 --> 00:27:43,272
THEN ABOUT A WEEK AGO,
A TRESPASSING CHARGE WAS FILED

569
00:27:43,305 --> 00:27:44,273
AND THEN DROPPED

570
00:27:44,306 --> 00:27:47,276
AGAINST A 42-YEAR-OLD MAN
NAMED PAUL MOSSIER.

571
00:27:47,309 --> 00:27:49,278
WAIT A SECOND.
THAT NAME SOUNDS FAMILIAR.

572
00:27:49,311 --> 00:27:50,479
THAT LAST NAME --
MOSSIER.

573
00:27:50,512 --> 00:27:53,082
WHEN I FOLLOWED UP
WITH THE BOULANGER FAMILY

574
00:27:53,115 --> 00:27:55,785
AND WHAT'S BECOME
OF THE LE LION DE L'EAU COMPANY,

575
00:27:55,818 --> 00:27:57,887
THERE WAS A DISPUTE
OVER INHERITANCE

576
00:27:57,920 --> 00:28:00,489
THAT WAS FILED 20 YEARS AGO
BY KILLIAN MOSSIER.

577
00:28:00,522 --> 00:28:03,492
COULD BE AN UNCLE
ON MADAME BOULANGER'S SIDE.

578
00:28:03,525 --> 00:28:05,460
I'M NOT BIG
ON COINCIDENCE.

579
00:28:05,494 --> 00:28:06,528
YEAH, RIGHT.

580
00:28:06,561 --> 00:28:09,131
AND IF PAUL IS CONNECTED
TO THE FAMILY,

581
00:28:09,164 --> 00:28:10,800
THEN THAT'S HOW
HE GETS THE MURDER WEAPONS.

582
00:28:10,833 --> 00:28:13,769
MONTY, WHAT ELSE CAN YOU TELL US
ABOUT THIS PAUL MOSSIER?

583
00:28:13,803 --> 00:28:15,170
HE'S GOT
A BIT OF A RECORD

584
00:28:15,204 --> 00:28:16,906
DATING BACK
THE LAST SEVERAL YEARS.

585
00:28:16,939 --> 00:28:19,241
VARIOUS ASSAULTS,
DISORDERLY CONDUCT.

586
00:28:19,274 --> 00:28:21,110
THEN IT SAYS HERE
THAT FOLLOWING

587
00:28:21,143 --> 00:28:23,412
AN ATTEMPTED ASSAULT
ON A POLICE OFFICER,

588
00:28:23,445 --> 00:28:26,215
PAUL MOSSIER WAS REMANDED
TO A PSYCHIATRIC HOSPITAL.

589
00:28:26,248 --> 00:28:28,050
HE'S SUPPOSED TO BE
AN IN-PATIENT

590
00:28:28,083 --> 00:28:29,518
AT L'INSTITUT DU PINEL.

591
00:28:29,551 --> 00:28:31,453
CLARA AND I
WILL CHECK IT OUT...

592
00:28:31,486 --> 00:28:33,455
WHILE YOU TWO STAY HERE
AND TRY TO IDENTIFY

593
00:28:33,488 --> 00:28:37,492
THE AMERICAN WOMAN WHO'S THE
FOCUS OF OUR UNSUB'S ATTENTION.

594
00:28:42,031 --> 00:28:43,799
BONJOUR.
BONJOUR.

595
00:28:43,833 --> 00:28:45,367
JE SUIS
L'OFFICIER SEGER.

596
00:28:45,400 --> 00:28:47,536
C'EST L'UNITé
DU CHEF GARRETT.

597
00:28:47,569 --> 00:28:49,438
NOUS SOMMES
DU FBI.

598
00:28:49,471 --> 00:28:52,274
NOUS AIMERIONS PARLER
AVEC MONSIEUR PAUL MOSSIER.

599
00:28:52,307 --> 00:28:54,009
EXCUSE ME.

600
00:28:54,043 --> 00:28:55,845
YOU ARE LOOKING
FOR PAUL?

601
00:28:55,878 --> 00:28:57,012
THAT'S RIGHT.
AND YOU ARE?

602
00:28:57,046 --> 00:29:00,249
DR. ALAIN GILLES, CLINICAL
DIRECTOR OF BEHAVIORAL HEALTH.

603
00:29:00,282 --> 00:29:01,917
IS PAUL MOSSIER
A PATIENT HERE?

604
00:29:01,951 --> 00:29:05,187
I'M SORRY, BUT, UH, WHY DOES
THE FBI WANT TO SPEAK TO HIM?

605
00:29:05,220 --> 00:29:08,523
HIS NAME'S COME UP WITH REGARDS
TO AN ONGOING INVESTIGATION.

606
00:29:09,591 --> 00:29:11,360
YOU THINK
HE HAS SOMETHING TO DO

607
00:29:11,393 --> 00:29:13,829
WITH THE AMERICAN WOMEN
WHO HAVE BEEN MURDERED.

608
00:29:14,964 --> 00:29:16,431
WE NEED
TO SPEAK TO HIM.

609
00:29:16,465 --> 00:29:19,334
PAUL WAS RELEASED FROM OUR
SUPERVISION OVER TWO WEEKS AGO.

610
00:29:19,368 --> 00:29:21,370
WHEN HE WAS REMANDED
TO THIS FACILITY,

611
00:29:21,403 --> 00:29:22,504
WHAT WAS
HIS DIAGNOSIS?

612
00:29:22,537 --> 00:29:25,875
I'M TRULY NOT AT LIBERTY
TO SHARE THOSE DETAILS WITH YOU.

613
00:29:25,908 --> 00:29:27,576
WERE YOU
HIS PRIMARY THERAPIST?

614
00:29:27,609 --> 00:29:29,311
YES,
MYSELF AND DR. BERNARD.

615
00:29:29,344 --> 00:29:30,312
BUT TO BE HONEST,

616
00:29:30,345 --> 00:29:32,882
PAUL SHOWED THE GREATEST
SIGNS OF IMPROVEMENT

617
00:29:32,915 --> 00:29:34,049
OVER THE LAST MONTHS

618
00:29:34,083 --> 00:29:36,418
WHILE WORKING WITH
ONE OF OUR VOLUNTEERS.

619
00:29:36,451 --> 00:29:38,087
SHE, UH,
USED ART THERAPY.

620
00:29:40,923 --> 00:29:42,624
IS THIS HER?

621
00:29:42,657 --> 00:29:45,527
YES. HER NAME
IS AMY WALLACE.

622
00:29:45,560 --> 00:29:48,230
AMY'S AN AMERICAN,
ISN'T SHE?

623
00:29:48,263 --> 00:29:50,399
YES, SHE IS.
MAY WE SPEAK
WITH HER?

624
00:29:50,432 --> 00:29:52,401
UNFORTUNATELY,
SHE IS NO LONGER HERE.

625
00:29:52,434 --> 00:29:54,904
SHE LEFT
ABOUT A MONTH AGO.

626
00:30:00,509 --> 00:30:03,078
DID SHE SEE THIS
BEFORE SHE LEFT?

627
00:30:03,112 --> 00:30:04,279
NO.

628
00:30:04,313 --> 00:30:06,581
PAUL TOOK HER ABSENCE
VERY HARD.

629
00:30:06,615 --> 00:30:08,583
HE COMES FROM
A FAMILY OF CRAFTSMEN,

630
00:30:08,617 --> 00:30:10,920
BUT DUE TO HIS STRUGGLES
WITH MENTAL HEALTH,

631
00:30:10,953 --> 00:30:11,954
THEY REJECTED HIM.

632
00:30:11,987 --> 00:30:13,622
AMY WAS PROBABLY
THE FIRST PERSON

633
00:30:13,655 --> 00:30:15,925
TO HELP HIM REALIZE
HIS POTENTIAL.

634
00:30:15,958 --> 00:30:17,927
BUT THIS HOSPITAL
FELT COMFORTABLE RELEASING HIM

635
00:30:17,960 --> 00:30:19,428
DESPITE HIS KNOWN
AGGRESSIVE TENDENCIES

636
00:30:19,461 --> 00:30:21,897
AND THIS SUGGESTION
OF A VIOLENT FANTASY?

637
00:30:21,931 --> 00:30:23,565
IT'S NOT
WHAT I WOULD HAVE PREFERRED,

638
00:30:23,598 --> 00:30:25,067
BUT PAUL
HAD IMPROVED ENOUGH

639
00:30:25,100 --> 00:30:27,069
THAT WE COULD NO LONGER
HOLD HIM INVOLUNTARILY.

640
00:30:27,102 --> 00:30:30,639
DO YOU KNOW IF PAUL TRIED TO
CONTACT AMY AFTER HIS RELEASE?

641
00:30:30,672 --> 00:30:32,942
AS A MATTER OF FACT,
HE DID, YES.

642
00:30:32,975 --> 00:30:34,176
HE ASKED
FOR HER ADDRESS.

643
00:30:34,209 --> 00:30:36,145
AND THAT'S WHEN SOMEONE
MENTIONED THAT SHE HAD
GOTTEN ENGAGED

644
00:30:36,178 --> 00:30:38,513
AND THAT SHE WAS RETURNING
TO THE UNITED STATES.

645
00:30:38,547 --> 00:30:40,615
BUT YOU DON'T KNOW IF OR WHEN
SHE RETURNED TO THE U.S.?

646
00:30:40,649 --> 00:30:42,251
NO, I DO NOT,
I'M SORRY.

647
00:30:43,618 --> 00:30:45,955
THANK YOU,
DOCTOR.

648
00:30:45,988 --> 00:30:47,422
SURE.

649
00:30:47,456 --> 00:30:49,624
THANK YOU.

650
00:30:49,658 --> 00:30:51,927
WE NEED TO FIND
AMY WALLACE -- NOW.

651
00:30:57,199 --> 00:30:59,634
PAUL?

652
00:30:59,668 --> 00:31:00,970
BONJOUR, AMY.

653
00:31:01,003 --> 00:31:03,438
I DIDN'T KNOW
YOU KNEW WHERE I LIVED.

654
00:31:03,472 --> 00:31:05,540
WELL, I APOLOGIZE
FOR NOT CALLING

655
00:31:05,574 --> 00:31:07,376
BEFORE DROPPING BY
LIKE THIS.

656
00:31:07,409 --> 00:31:08,677
NO, IT'S FINE.
I...

657
00:31:08,710 --> 00:31:11,146
JUST THOUGHT
YOU WERE THE MOVERS.

658
00:31:11,180 --> 00:31:14,616
THEY'RE ALREADY AN HOUR LATE,
AND I'M MOVING BACK HOME.

659
00:31:14,649 --> 00:31:15,617
OH.

660
00:31:15,650 --> 00:31:17,719
BUT IT'S REALLY GOOD
TO SEE YOU.

661
00:31:17,752 --> 00:31:20,422
IT'S REALLY GOOD
TO SEE YOU, TOO.

662
00:31:20,455 --> 00:31:22,992
SORRY I HAVEN'T HAD A CHANCE
TO VISIT.

663
00:31:23,025 --> 00:31:24,359
IT'S BEEN
A BUSY TIME.

664
00:31:24,393 --> 00:31:25,260
WELL...

665
00:31:25,294 --> 00:31:27,729
I'M NO LONGER A PATIENT
AT THE HOSPITAL.

666
00:31:27,762 --> 00:31:30,732
WONDERFUL.

667
00:31:30,765 --> 00:31:33,468
AND YOU'RE STILL WORKING ON
THE THINGS WE WERE FOCUSED ON?

668
00:31:33,502 --> 00:31:34,970
OH, YES, I HAVE.

669
00:31:35,004 --> 00:31:37,239
I-I NEED
TO SHOW YOU SOMETHING.

670
00:31:37,272 --> 00:31:38,340
OKAY.

671
00:31:38,373 --> 00:31:40,642
UH, BUT, UH,
IT'S NOT HERE.

672
00:31:40,675 --> 00:31:43,745
SO I NEED TO TAKE YOU --
TO SEE IT.

673
00:31:43,778 --> 00:31:45,680
PAUL, LIKE I SAID,
I CAN'T LEAVE.

674
00:31:45,714 --> 00:31:48,050
I'M STILL WAITING
FOR THE MOVERS.

675
00:31:48,083 --> 00:31:50,285
I...

676
00:31:50,319 --> 00:31:54,089
I'VE BEEN WORKING
REALLY HARD, AMY.

677
00:31:54,123 --> 00:31:55,557
PLEASE...

678
00:31:55,590 --> 00:31:57,092
COME...

679
00:31:57,126 --> 00:31:58,994
WITH ME.

680
00:32:00,362 --> 00:32:01,530
OKAY.

681
00:32:01,563 --> 00:32:03,698
LET ME
JUST GRAB MY COAT.

682
00:32:03,732 --> 00:32:06,101
OKAY.

683
00:32:11,340 --> 00:32:14,643
PAUL,
STOP, STOP!

684
00:32:14,676 --> 00:32:16,178
PLEASE.

685
00:32:16,211 --> 00:32:18,047
I'M NOT
GOING TO HURT YOU.

686
00:32:18,080 --> 00:32:19,048
I PROMISE.

687
00:32:19,081 --> 00:32:22,051
WE'RE JUST PLAYING
LE JEU D'éVANOUISSEMENT.

688
00:32:22,084 --> 00:32:24,219
IT'S A FAINTING GAME.

689
00:32:24,253 --> 00:32:29,724
GOOD NIGHT,
MY LOVE.

690
00:32:45,374 --> 00:32:48,577
MY INSPECTORS HAVE SEARCHED THE
BUILDING AND OUTER PERIMETER.

691
00:32:48,610 --> 00:32:51,413
THERE'S NO SIGN OF PAUL MOSSIER
OR AMY WALLACE.

692
00:32:51,446 --> 00:32:52,681
NO SIGN
OF A STRUGGLE.

693
00:32:52,714 --> 00:32:53,482
I'M NOT SURPRISED.

694
00:32:53,515 --> 00:32:55,250
IF WE'RE RIGHT,
AT THIS MOMENT,

695
00:32:55,284 --> 00:32:56,718
PAUL'S INTENTION
IS NOT TO HURT AMY,

696
00:32:56,751 --> 00:32:58,720
BUT TO TRY AND IMPRESS HER
WITH WHAT HE'S DONE.

697
00:32:58,753 --> 00:33:00,622
SO HE WOULD HAVE
INCAPACITATED HER

698
00:33:00,655 --> 00:33:03,792
IN ORDER TO TRANSPORT HER
SOMEPLACE HE FEELS SAFE
AND COMFORTABLE.

699
00:33:03,825 --> 00:33:06,361
I CANNOT BELIEVE HIS INTENTION
IS NOT TO KILL HER.

700
00:33:06,395 --> 00:33:08,130
SHE COULD
ALREADY BE DEAD

701
00:33:08,163 --> 00:33:09,598
AND HE'S TAKEN HER BODY
SOMEWHERE TO POSE IT.

702
00:33:09,631 --> 00:33:12,467
BELIEVE IT OR NOT, PAUL'S
ACTUALLY TRYING TO WOO AMY,

703
00:33:12,501 --> 00:33:14,769
WHICH MEANS WE HAVE TIME,
BUT YOU ARE RIGHT.

704
00:33:14,803 --> 00:33:17,072
EVENTUALLY,
AMY WILL SEE WHAT PAUL HAS DONE,

705
00:33:17,106 --> 00:33:18,773
AND SHE WILL
ABSOLUTELY REJECT HIM.

706
00:33:18,807 --> 00:33:20,142
AND THAT'S
WHEN HE KILLS HER.

707
00:33:20,175 --> 00:33:22,311
THE QUESTION IS,
WHERE DID HE TAKE HER?

708
00:33:24,513 --> 00:33:25,647
SIMMONS,
WHAT DO YOU GOT?

709
00:33:25,680 --> 00:33:26,781
AT 2:37 P.M.,

710
00:33:26,815 --> 00:33:29,751
ALEXANDRA LAFAYETTE
CALLED FOR ROADSIDE ASSISTANCE.

711
00:33:29,784 --> 00:33:31,686
When the tow-truck driver
finally showed up,

712
00:33:31,720 --> 00:33:33,122
HE SEES ANOTHER TOW TRUCK

713
00:33:33,155 --> 00:33:35,224
HAULING AWAY APPEARS TO BE
ALEXANDRA'S VEHICLE.

714
00:33:35,257 --> 00:33:37,326
That was under the bridge
near the Rue de l'étoile,

715
00:33:37,359 --> 00:33:39,261
AND MONTY'S GOT A HOOK UP
TO THE CCTV CAMERAS

716
00:33:39,294 --> 00:33:41,696
AT THE INTERSECTION RUNNING BOTH
NORTH AND SOUTH OF THERE.

717
00:33:41,730 --> 00:33:42,997
LET ME PATCH YOU IN,
BOSS.

718
00:33:43,031 --> 00:33:46,401
I WAS ABLE TO SPOT OUR UNSUB'S
NEW RIDE, WHICH IS A TOW TRUCK,

719
00:33:46,435 --> 00:33:48,870
AND HE'S CLEARLY GOT
ALEXANDRA'S CAR HOOKED UP TO IT.

720
00:33:48,903 --> 00:33:51,406
HE'S HEADING NORTHBOUND
ON THE RUE D'éTOILE.

721
00:33:51,440 --> 00:33:53,175
But I ran
all the CCTV footage.

722
00:33:53,208 --> 00:33:54,576
I LOST THEM
HEADING NORTH-NORTHEAST

723
00:33:54,609 --> 00:33:55,910
TOWARD
THE TREMBLAY-EN-FRANCE.

724
00:33:55,944 --> 00:33:58,513
I DON'T THINK HE'D
TAKE HER COMPLETELY
OUT OF THE CITY, JACK.

725
00:33:58,547 --> 00:34:00,749
THAT'S A PRETTY INDUSTRIAL AREA.
IT'S A GOOD PLACE TO LAY LOW.

726
00:34:00,782 --> 00:34:02,684
BUT THERE'S NO RECORD
OF A PAUL MOSSIER

727
00:34:02,717 --> 00:34:04,786
OWNING OR LEASING PROPERTY
OUT IN THAT AREA.

728
00:34:04,819 --> 00:34:05,854
Well,
it's got to be connected

729
00:34:05,887 --> 00:34:06,788
to Killian Mossier
somehow.

730
00:34:06,821 --> 00:34:08,890
MAE AND I
WILL CHECK THE RECORDS AGAIN.

731
00:34:08,923 --> 00:34:11,760
WE NEED TO SET UP A COMMAND POST
OUT NEAR THE AIRPORT.

732
00:34:38,820 --> 00:34:40,855
PAUL?
WHERE AM I?

733
00:34:52,901 --> 00:34:54,936
AAH!

734
00:34:57,706 --> 00:34:58,740
NO!

735
00:35:03,778 --> 00:35:08,550
THAT'S WHY I NEED YOU TO SEE
EVERYTHING I'VE DONE, OKAY?

736
00:35:08,583 --> 00:35:09,684
HERE. HERE.

737
00:35:09,718 --> 00:35:11,886
ACCORDING TO THOSE FILES
YOU SCANNED FOR ME,

738
00:35:11,920 --> 00:35:14,823
THE MOSSIER CLAN IS LIKE
SOME WITHERING BASTARD BRANCH

739
00:35:14,856 --> 00:35:16,391
OF THE BOULANGER FAMILY TREE.

740
00:35:16,425 --> 00:35:18,360
BUT THE MOSSIERS --
OR WHAT'S LEFT OF THEM --

741
00:35:18,393 --> 00:35:20,195
THEY HELD TITLE
TO FIVE SEPARATE HOLDINGS

742
00:35:20,229 --> 00:35:21,496
ON THE OUTSKIRTS
OF PARIS.

743
00:35:21,530 --> 00:35:23,732
FROM MEAUX
ALL THE WAY TO PLAISIR.

744
00:35:23,765 --> 00:35:26,435
JACK AND CLARA ARE GETTING
PRETTY CLOSE TO THAT ONE
PROPERTY IN VILLEPINTE.

745
00:35:26,468 --> 00:35:29,238
WE HAVE LOST
OUR SENSE OF HISTORY.

746
00:35:29,271 --> 00:35:32,507
THEY ARE CALLING ME
THE BUTCHER OF PARIS.

747
00:35:32,541 --> 00:35:35,477
THAT NAME WAS GIVEN
TO MARCEL PETIOT.

748
00:35:35,510 --> 00:35:38,413
HE WAS A DOCTOR
WHO KILLED 23 PEOPLE

749
00:35:38,447 --> 00:35:40,315
DURING
WORLD WAR II.

750
00:35:40,349 --> 00:35:42,717
HE WAS
A BUTCHER.

751
00:35:42,751 --> 00:35:43,885
AND MOI?

752
00:35:43,918 --> 00:35:46,355
I AM...
AN ARTISTE.

753
00:35:46,388 --> 00:35:50,892
I TOOK FLESH AND BONE
AND MADE THEM, UH...

754
00:35:50,925 --> 00:35:52,494
TRANSCENDENT.

755
00:35:52,527 --> 00:35:56,498
BUT NONE OF THIS WOULD BE
POSSIBLE WITHOUT YOU.

756
00:35:56,531 --> 00:35:58,667
YOU ARE MY MUSE,
AMY.

757
00:35:58,700 --> 00:36:03,538
BECAUSE OF YOU,
I AM TRANSCENDENT.

758
00:36:03,572 --> 00:36:08,343
YOU'VE ALWAYS
BEEN SPECIAL, PAUL.

759
00:36:09,611 --> 00:36:12,747
BUT I COULDN'T SEE THAT
BEFORE YOU.

760
00:36:12,781 --> 00:36:13,982
I KNOW.

761
00:36:16,918 --> 00:36:18,820
YOU KNOW...

762
00:36:18,853 --> 00:36:21,022
WHEN I WAS
A LITTLE BOY,

763
00:36:21,055 --> 00:36:25,226
MY FATHER TRIED TO TEACH ME
HOW TO CARVE THE WOOD.

764
00:36:28,463 --> 00:36:30,031
HE GOT FRUSTRATED

765
00:36:30,064 --> 00:36:33,968
AND BURNED MY HAND
WITH HIS CIGARETTE.

766
00:36:35,036 --> 00:36:39,674
TOLD ME
I WAS NOT HIS BLOOD.

767
00:36:39,708 --> 00:36:42,477
I...I AM SO SORRY.

768
00:36:42,511 --> 00:36:47,449
WILL YOU PLEASE
LET ME GO, PAUL?

769
00:36:47,482 --> 00:36:49,017
I CAN'T.
YEAH.

770
00:36:49,050 --> 00:36:51,986
YES,
YOU CAN.

771
00:36:52,020 --> 00:36:53,888
NO, NO, AMY.

772
00:36:53,922 --> 00:36:58,460
WITHOUT YOU,
I AM NOTHING.

773
00:36:58,493 --> 00:37:01,563
I LOVE YOU,
AMY.

774
00:37:01,596 --> 00:37:03,665
JE T'AIME.

775
00:37:05,934 --> 00:37:12,541
YOU UNDERSTAND
WHAT I'VE DONE, DON'T YOU?

776
00:37:12,574 --> 00:37:14,509
I DO.

777
00:37:27,856 --> 00:37:30,359
HOW DO
YOU LIKE IT?

778
00:37:41,936 --> 00:37:43,872
JACK,
THE FRENCH NATIONAL POLICE

779
00:37:43,905 --> 00:37:45,907
HAVE DETAINED KILLIAN MOSSIER
IN TOULOUSE.

780
00:37:45,940 --> 00:37:48,076
HE HAS CONFIRMED THAT HIS NEPHEW
HAS TAKEN POSSESSION

781
00:37:48,109 --> 00:37:49,878
OF THE PROPERTY
YOU'RE HEADING TO NOW.

782
00:37:49,911 --> 00:37:51,112
Does he know
if his nephew

783
00:37:51,145 --> 00:37:52,747
has stockpiled
any other weapons?

784
00:37:52,781 --> 00:37:54,549
HE KNOWS
THAT HIS NEPHEW'S CRAZY.

785
00:37:54,583 --> 00:37:56,084
I...

786
00:37:56,117 --> 00:37:59,854
I CAN'T BELIEVE
YOU DID THAT.

787
00:37:59,888 --> 00:38:02,757
ALL THOSE WOMEN,
PAUL?

788
00:38:02,791 --> 00:38:05,727
OH.
JE SUIS DéSOLé.

789
00:38:05,760 --> 00:38:07,596
OH, SORRY?

790
00:38:07,629 --> 00:38:10,131
YOU'RE DISGUSTING.

791
00:38:11,566 --> 00:38:12,534
YOU'RE SICK.

792
00:38:12,567 --> 00:38:14,503
YOU'VE ALWAYS
BEEN SICK.

793
00:38:22,977 --> 00:38:25,447
HUH?

794
00:38:34,022 --> 00:38:36,491
TU EST...

795
00:38:36,525 --> 00:38:38,627
UNE SALOPE...

796
00:38:39,994 --> 00:38:41,796
...SANS COEUR!

797
00:38:59,047 --> 00:39:00,982
I'M SORRY,
AMY.

798
00:39:14,162 --> 00:39:15,497
PUT IT DOWN,
PAUL!

799
00:39:15,530 --> 00:39:16,731
NOW!

800
00:40:28,903 --> 00:40:29,838
YOU KNOW WHAT?

801
00:40:29,871 --> 00:40:32,173
THIS IS ONE TIME
THAT I AM KIND OF OKAY WITH

802
00:40:32,206 --> 00:40:34,075
THE MECHANICAL DELAY
ON THE JET.

803
00:40:34,108 --> 00:40:36,811
THIS IS
A BEAUTIFUL CITY.

804
00:40:36,845 --> 00:40:38,146
YES,
IT IS.

805
00:40:38,179 --> 00:40:40,749
IT'S HARD SOMETIMES
TO APPRECIATE THE BEAUTY.

806
00:40:40,782 --> 00:40:43,284
YEAH,
WE GOT TO FIND IT -- SOMEHOW.

807
00:40:43,317 --> 00:40:47,188
OTHERWISE, I DON'T THINK WE
COULD DO THE JOB WE NEED TO DO.

808
00:40:47,221 --> 00:40:50,291
YEAH, EVEN THE DARKEST NIGHT
WILL END, AND THE SUN WILL RISE.

809
00:40:50,324 --> 00:40:52,093
TO BEAUTY --

810
00:40:52,126 --> 00:40:54,763
WHEREVER
WE MAY FIND IT.