The Alienist (2018) s01e02 Episode Script
A Fruitful Partnership
1 My name is Dr.
Kreizler.
Can you tell me what you saw? Giorgio Santorelli.
He's a boy-whore, âworked out of Paresis Hall.
Sara.
Get me the file on the Zweig case.
We need your help.
KREIZLER: The boy was a patient of mine.
An unsolved case.
Both my children are dead.
Because of you.
Look at anything that may connect Benjamin Zweig to the Santorelli boy.
I must follow this wherever it goes.
Even if it leads me to the darkest pit of Hell.
[WATER DRIPPING.]
Are many children brought here? We only get the poor ones.
It's the poorest children I'm interested in.
Specifically homicides.
Plenty of those, too.
There may also have been removal of the organs and body parts.
Grave robbers are still more common - than we would like.
- No, not grave robbers.
These mutilations would have served no medical purpose like the removal of the tongue.
Leviticus Deuteronomy Proverbs.
Proverbs.
I beg your pardon? You wear no sign of your faith, Doctor, yet you men of science insist you're not in opposition to God.
You insist you are God.
I insist no such thing.
I'll ask you again: Do you have experience of corpses in which the tongue was removed? No.
But if it's the boy-whore from the bridge, I'd say he had it coming.
[SHOUTING INDISTINCTLY.]
- [GRUNTS.]
- Shut her up, Doyle! [CRYING.]
Wait.
Don't be showin' your face no more around 300 Mulberry, you dumb guinea bastard.
[TRANSLATING IN ITALIAN.]
[SCREAMING.]
Anyone comes to see the Santorelli family, you tell 'em you ain't seen nothin'.
[SCREAMING.]
[THUD.]
[SHOUTING IN ITALIAN.]
This here's a warning, Mr.
Santorelli.
[TRANSLATING IN ITALIAN.]
You keep your dirty dago nose out of police business, eh? [GRUNTS.]
[INDISTINCT CONVERSATIONS.]
Captain.
CONNOR: 'Tis surely more pleasant on the eyes to have a woman on the premises, isn't it, Sergeant Doyle? Ah, 'tis.
Miss Howard.
Would the commissioner be about? He's attending disciplinary hearings this afternoon.
Right, well, I just wanted to let him know The Santorellis, they didn't have much to add by the way of facts to the killin' of their poor boy.
So don't hardly seem necessary to make any further inquiry along those lines.
Is there anything else? Beggin' your pardon.
Eyelash.
Huh.
Go on, blow.
Bring you luck.
Hm.
Make sure you tell the commissioner what I told you.
MRS.
TINKER: I don't think you've quite captured the line of her jaw, Mr.
Moore.
Hm.
[CLOCK CHIMING.]
There.
The resemblance now seems more correct.
Mm.
[HORSE NEIGHS.]
Oh.
Hello.
Connor's been to see the Santorellis.
Does Roosevelt know? He's not in.
But I want to go talk to them.
But you're employed as a typewriter.
I prefer the term "secretary," but I have good reason for wanting to involve myself.
You'll not be welcome in that part of the neighborhood, you know.
I may only be a secretary, but I do work for the police department.
Oh, the riffraff won't care about that.
Which is why I'll need you to accompany me.
They won't care about that either.
Are you saying you're afraid? [HORSE NEIGHS.]
[INDISTINCT SHOUTING.]
[DOG BARKING.]
Whoa, whoa.
Whoa.
[BARKING.]
Does Roosevelt know you're doing this? When it comes to the commissioner, I find it sometimes better to ask forgiveness rather than permission.
[WOMAN SHOUTING IN ITALIAN.]
[WATER DRIPPING, COUGHING.]
[RATS SQUEAKING.]
[BABY WAILING.]
SARA: Oh, my God.
A baby.
MOORE: âSara, I wouldn't touch it.
These children are often diseased.
Poor thing.
Where's your mother? Where's your mother? [MAN SHOUTING IN ITALIAN.]
[CRYING.]
[SHOUTING CONTINUES, BABY CRYING.]
[DOOR SLAMS.]
[MAN AND WOMAN ARGUING IN ITALIAN.]
[KNOCKING.]
MRS.
SANTORELLI: [SPEAKING ITALIAN.]
[SPEAKING ITALIAN.]
[SPEAKING ITALIAN.]
Mrs.
Santorelli.
[CHILDREN COUGHING.]
Prego, prego.
Il dotorre.
[SPEAKING ITALIAN.]
She thinks you're a doctor.
She called for one hours ago.
What should I do? I don't know.
Pretend.
[SPEAKING ITALIAN.]
Can you tell us about the men who did this to your father? [SPEAKING ITALIAN.]
Aspetta, mamma.
Aspetta.
Two was cops.
The other was some Holy Joe.
What did they say? They say Giorgio died in sin, that it was better for the family if we keep our mouths shut.
[SPEAKING ITALIAN.]
Calma, calma! Calma, mamma.
- [SPEAKING ITALIAN.]
- Calma.
I can't make out what she's saying.
She talks about my brother.
[CRYING.]
Giorgio wasn't like the other boys.
[SPEAKING ITALIAN.]
Papa, he beat Giorgio.
He call him a girl.
That's why he ran away.
[SPEAKING ITALIAN.]
[CONVERSING IN ITALIAN.]
She say police say Giorgio is the same as the other boys who were killed.
Nobody care.
Other boys? [SPEAKING YIDDISH.]
[CHUCKLES.]
Let me try that one.
[SPEAKING YIDDISH.]
WOMAN: That looks good.
[LAUGHS.]
Look.
The same knife marks.
We'll take this one.
[INDISTINCT CONVERSATIONS, SHOUTING.]
Thinking about becoming a socialist now, are you? You know the difference between capitalism and socialism? No.
In capitalism, man exploits man.
In socialism, âit's the other way around.
- [HORSE NEIGHS.]
- DRIVER: Hyah! Go on! Giddyup there.
[INDISTINCT CONVERSATIONS, SHOUTING.]
[SOFT MUSIC PLAYING.]
Every night, Dr.
Kreizler, every night, she touches.
The priest say she needs ice bath and leeches.
Leeches? The priest say âthe devil is in her mind.
That's why I bring her to you.
Mrs.
Rajk, there is nothing wrong with your daughter's mind.
You're becoming a young woman.
And there's not a thing your mother nor any priest can do about it.
- CHILDREN: 1, 2, 3, 4.
- Hmm? - CHILDREN: 1, 2, 3, 4.
- The body's the temple of the Holy Spirit.
It is a blessed gift not to be defiled by lust.
- 1, 2, 3, 4.
- Yes, I, too, learned Scripture when I was young.
But instead of answers, I found only questions.
Why does God allow us to feel both pleasure and pain? Why has he given a young girl like Berthe impulses and desires she cannot begin to fathom or control? - 4 - Is this the God of who we speak? This is a sanctuary for the young.
I will not tolerate its trespass, neither by man, nor by God.
Now, please, remove yourselves from the premises.
Excuse me, Detective.
[BREATHES DEEPLY.]
The commissioner âis looking for some files of unresolved cases.
Homicides.
Where might I find them? - The old dogs.
- âI beg your pardon? Unsolved cases.
They keep barkin' at you from the files like old dogs.
Woof.
Woof.
I see.
In there.
[INDISTINCT CONVERSATIONS.]
[DRAWER RATTLES.]
[DRAWER CLOSES.]
[LAUGHTER, INDISTINCT CONVERSATIONS.]
[SIGHS.]
MAN: [LAUGHING.]
I know.
[LAUGHTER.]
There were other murdered boys.
As I suspected at the morgue.
Who were they? The Negro boy's identity was unknown.
The other boy was named Aaron Morton.
I found a brief mention of him in the Herald about a month ago.
He worked at a brothel called Shang Draper's.
He was killed like the Santorelli boy and his body hidden on the Brooklyn Bridge.
It's imperative that we examine them to see if there's a connection.
Impossible.
The Negro morgue on Bleecker burns the remains of anyone left unclaimed.
And I could find no family, which means Aaron Morton was probably buried in Potter's Field.
But that's not all of it.
The files of both boys were kept hidden.
I found them only by chance.
There could well be others.
This information âis invaluable, Miss Howard.
Thank you.
Is Roosevelt aware of what you've done? No.
Have you plans tonight? Yes.
If I have a carriage sent 'round at 9:00, can your plans be altered? Is that a request or a command, Doctor? [CHUCKLES.]
âAs you like it, Miss Howard.
- [GLASS SHATTERS.]
- [GASPS.]
Let me help you.
[GLASS CLINKING.]
Thank you, Mary.
What else did you learn about Santorelli? His brother said that he was "different.
" Different? I had the distinct impression that other boys found Giorgio âin some manner effete or, well, inclined toward contrary sexual instinct.
Being effete and being inclined toward a contrary sexual instinct are two different things.
Now, was the boy one or the other? Or was he both the former and the latter? I'm sure I don't know.
All his brother said was that Giorgio was different from the other boys and that he'd run away.
- Was he beaten? - [SCOFFS.]
What boy isn't in that godforsaken part of the city? Two more boys murdered.
He needs to feed his hunger like an addict.
He can't go very long without killing again.
[DOOR OPENS.]
[FOOTSTEPS APPROACHING.]
MAN: Come closer, child.
What's wrong with your mouth? [HORSE NEIGHING.]
Hey! Hey! KREIZLER: âTell me about Miss Howard.
I'll tell you about Miss Howard if you tell me where we're going.
I've noticed âshe wears a man's signet ring.
Why do you take such pleasure in keeping everyone âin the dark about your plans? Hmm? [SIGHS.]
The ring was her father's.
A rather sad situation.
A hunting accident, or at least that was the official story.
The rumors were that he died by his own hand.
- How old was she? - â12.
At the time, âshe was sent to a sanitarium.
She'd lost her mother when she was still quite young.
Perhaps you should measure her skull to see how it affected her.
Have you interest in her? Good God, Laszlo.
I've known her since she was a child.
She's no longer a child.
I've not thought of her in that way.
Certainly you have.
No, Tessie.
I'll not wear an evening dress as I have no need to flatter myself.
Will there be gentlemen present? I should say, rather, there will be colleagues present.
Colleagues are gentlemen, too.
All the more reason to make an impression.
[MEN SINGING OPERATICALLY.]
KREIZLER: Who's that sitting with Roosevelt? You mean to tell me you don't recognize the mayor of New York City? That's Mayor Strong? Mm-hmm.
My God, he's aged.
[CHUCKLES.]
[MUSIC INTENSIFIES.]
[WOMAN SINGING OPERATICALLY.]
Hm.
His family grows by the day.
What are you talking about? J.
P.
Morgan.
Every beautiful young lady he's seen with claims to be his niece.
[CHUCKLES.]
Poor Roosevelt.
He dislikes the opera as much as you do.
Hm.
Doubtful.
Don't wait up for us tonight, Mama.
MRS.
ISAACSON: [SPEAKING YIDDISH.]
We have police business.
She means you stink like a 10-cent whore.
How would you know? - Mommy? - Hmm? [SIGHS.]
That's not tonight, Mama.
[BLOWING.]
[SINGING OPERATICALLY.]
- [MUSIC ENDS, APPLAUSE.]
- [GASPS.]
Is it over? Intermezzo.
[INDISTINCT CONVERSATIONS.]
Thank you.
Very well.
I shall be forced to drink for two.
Mayor Strong.
It's wonderful to see you again.
You're looking well, sir.
Thank you.
I'm Dr.
Kreizler.
The alienist? Good evening, Commissioner.
- Good evening, Mr.
Roosevelt.
- Robert.
- Theodore.
- Tom.
- Why tonight? - âMAN: Good evening, Commissioner.
I need something from you.
Examination of the Zweig boy revealed serrations on the malar bone and supraorbital ridge of both eyes.
Someone cut his eyes out with a knife.
This is neither the time nor the place to discuss the postmortem of a child.
I shouldn't even be seen talking to you.
It was no scavenger that left those marks, and if I were a betting man, - I'd wager rather a large sum - Good evening, Commissioner.
on the probability that the same marks will be present on the eye sockets of Giorgio Santorelli.
That will be determined by the coroner.
That may well take months, if ever.
And it's two more boys of the lower classes have recently be murdered, although your police seem to be more concerned with covering up the crimes than finding the perpetrator.
How did you come by this knowledge? That I cannot tell you.
Even if I wanted to, I cannot allow you access to the body, as it's still in police custody.
Your Isaacson brothers have proven themselves more than capable.
[BREATHES DEEPLY.]
T.
R.
J.
P.
Mm.
Damn it, Kreizler.
In addition, I shall require a liaison who will provide information from within the police department without revealing their connection to me.
Are you suggesting you should be allowed to conduct âa parallel investigation? Yes.
Your secretary, Miss Howard, is perfectly placed.
[HORSE NEIGHS, WALTZ PLAYING.]
Please, enjoy the rest of your evening.
Thank you.
[INDISTINCT CONVERSATIONS.]
MAN: Good to see you again.
Thank you.
Thank you.
All right.
Let go! Thank you.
[APPLAUSE, MUSIC ENDS.]
[INDISTINCT CONVERSATION, CLASSICAL MUSIC PLAYS.]
[CORK POPS, GUESTS GASP.]
MAN: How are you? [FOOD SIZZLING.]
[LAUGHTER.]
Are you perchance waiting for Dr.
Kreizler? Yes, I am.
I'm Detective Sergeant Marcus Isaacson.
This is my brother.
Detective Sergeant Lucius Isaacson.
I'm Sara Howard.
I work âfor Commissioner Roosevelt.
You're here to take notes? Frankly, I don't know why I'm here.
My apologies for the lateness of our arrival.
Charlie, you may let Monsieur Ranhofer know we are ready.
A toast.
To the beginning of a fruitful partnership.
I don't think the wine is kosher.
I thought we'd start with a terrapin soup au clair.
One of the specialties of the house.
I hope no one minds serious conversation while we eat, but I believe it's best to get a running start.
Well, perhaps you could tell us what exactly we're getting a running start at.
Oh, my.
[CHUCKLES.]
I've gotten ahead of myself, haven't I? - [DOORS CLOSE.]
- Of course.
I should explain.
MARCUS: Perhaps if we begin, your intentions âwill become self-explanatory.
Please.
We've already made Dr.
Kreizler aware of the results of our examination of the Zweig boy.
The torso was grossly violated while the eyes were carefully plucked from their sockets.
Gentlemen.
There is a lady present.
Oh, enough, John.
I am perfectly capable of hearing whatever it is that needs to be said.
- Hm.
- Continue, please.
Thus, we asked ourselves, "What instrument might be found capable of both cutting muscles and tendons and prying eyeballs from their sockets?" Behold, the Arkansas Toothpick.
The blade is strong enough to cause the wounds the boy suffered to his torso.
But finely weighted to delicately remove his eyes.
- [INDISTINCT CONVERSATIONS.]
- MAN: Come on.
[HORSE WHINNIES.]
MAN #2: Huh! Hyah! Let's eat.
You been grooming them horses, mucking out those stables, and touching your own private self.
Clean your hands before you eat.
I don't know why I have to keep telling you that.
KREIZLER: Gentlemen, you've done fine work.
But there may well be thousands of Arkansas Toothpicks about, even in New York City.
LUCIUS: Which is why we have something that may prove infinitely more useful.
Dactyloscopy.
The science of a finger, palm, or foot âleaving a chance impression.
The one on the left is mine.
And the one on the right is mine.
And yet we're twins.
Fraternal.
Hmm.
There are those, including the majority of our colleagues in the police department, who do not accept finger-marks as evidence, but the science behind it has It has been proved reliable.
[DOORS OPEN.]
I've read about this.
Isn't it surmised âthat a person's finger-marks do not change throughout their lifetime and that each is unique? Precisely.
âHowever, certain conditions must be met âin order to preserve them.
And bodies immersed in water like the Zweigs would not meet those conditions.
Indeed not, but we found this.
A bloody finger-mark left on the back of this timepiece.
We discovered the trinket within the Zweig boy's burial suit.
Their file referenced it.
It was found on the roof near the water tank, wasn't it? MARCUS: âAnd thus spared degradation.
A person leaving âa finger-mark such as this might as well drop âa monogrammed handkerchief.
And so he did.
MOORE: Who? You talk about him as if you know him.
We don't yet know him, John.
But we will.
We may not know his name or where he lives, but he exists in plain sight.
Though evidence does not immediately reveal him, there are hints and indications to his identity that he's unwittingly left behind.
Now, our task is to gather those hints and indications to construct an image of the man his age, his background, his habits, but most importantly, his appetites.
Look at who his victims are, where he commits his crimes, and what exactly he does to them until a pattern begins to emerge.
Each and every one of the choices he makes will reveal a hidden aspect of his alienated mind.
And there's one more thing.
We know the killer's conscious thoughts are fixed on violence.
If we get too close, that violence might well spill over onto us.
MOORE: You're not asking Sara to join this mad escapade of yours, are you? It will put her âin a most compromised position.
Look at the beasts that surround her on a daily basis.
I believe she's up to the task.
She's not as strong as she'd like you to believe.
John, please.
Do not let your affection for Miss Howard get in the way of logic.
My affection?! My God.
Do you never tire âof the sound of your own voice? Miss Howard is resourceful.
She's loyal to Roosevelt.
And because she's a woman, she's unlikely to arouse suspicion.
That is quite sufficient for my purposes.
And what is my role to be in all of this? Perhaps you've already played it.
MARCUS: It's something new.
Forensic science âmarried with human psychology.
One might easily imagine the ramifications if we are successful.
I rather like it.
Miss Howard.
- Miss Howard.
- Gentlemen.
- May I offer you a ride? - No, thank you, Doctor.
- Please go on without us.
- Very well.
- Good evening, men.
- Good evening.
John.
Are you coming with us? I'd prefer to walk.
SARA: At this hour? I'm not a child.
He's had too much to drink.
He was offered a ride.
Perhaps you might have insisted.
A little resentment and introspection will do him good.
He's not as strong âas he'd like you to think.
[CHUCKLES.]
You find that amusing? Our weaknesses sometimes serve us better than our strengths.
I'm surprised to hear you admit you've a weakness.
I was speaking metaphorically.
[TAPPING.]
- Stevie! - STEVIE: Yes, sir? Run along âand keep an eye on Mr.
Moore.
You bet.
CYRUS: Let's go, boys.
Let's go.
[HORSE WHINNIES.]
MATCHETT: The working man, woman, and, all too often, the working child are, in effect, the slaves of America.
[CHEERS AND APPLAUSE.]
We call on all honest citizens to unite beneath the banner of the Socialist Labor Party of America [CROWD CHEERING.]
that we may make use of our political liberty and bring an end to the current barbarous struggle of the oppressed.
[CROWD CHEERING.]
Evening.
- This emancipation - Yes.
is not only possible It is inevitable, since all we need do to move forward in equality is to stand together now in unity.
[CROWD CHEERING.]
Pardon my candidness, but I feel I must ask.
Did you have this evening entirely planned? What exactly do you mean by "entirely"? That we I would agree to assist you.
Aside from the job of scrubbing floors, you're the first woman employed by the New York Police Department.
That shows initiative and a desire to advance your place in society.
Am I mistaken? No.
I've asked the commissioner for you to be the liaison between us.
Your task will be to keep me informed of developments within the department and keep Roosevelt abreast of our actions outside.
And he agreed? Perhaps not in so many words.
CYRUS: Come on, boy.
[HORSE WHINNIES.]
Whoa.
Steady.
[HORSE WHINNIES.]
[CLEARS THROAT.]
May I assume you have an interest? It wouldn't be fair to assume anything about me, Doctor.
You look lovely this evening, Miss Howard.
[CARRIAGE DOOR OPENS.]
Cyrus.
Please see Miss Howard to the door.
Yes, sir.
I can see myself in, thank you.
[WOMAN SINGING OPERATICALLY.]
[CARRIAGE DOOR CLOSES.]
[CHUCKLES.]
[MOANING.]
[MOANS.]
What did you say your name was? Esther.
And you? Marcus.
Nice to meet you.
Likewise.
[INDISTINCT CONVERSATIONS.]
[DOG BARKING.]
MAN: Heads up! Yeah, sir, this will literally cure psoriasis.
MAN #2: Tie! Fine ties! Good ties! ["DAISY BELL (A BICYCLE BUILT FOR TWO)" PLAYS.]
MAN #3: Ladies and gentlemen take repose on this beautiful settee.
Step right up.
[SIGHS.]
[MUSIC ENDS, CHEERS AND APPLAUSE.]
YOUNG MAN: [HIGH-PITCHED VOICE.]
Far away beyond the glamour Of the city and its strife There's a quiet little homestead by the sea Evening, sir.
Where a tender, loving lassie used to live her happy life Contented in her lot as she could be Not a shadow ever seemed to cloud [MEN CHEERING.]
The sunshine of her youth And they thought no sorrow could her life befall Come here, son.
But she left them all one evening And their sad hearts knew the truth When her father turned her picture to the wall There's a name that's never spoken And a mother's heart half-broken Just another face that's missing from the old home That is [DEEP VOICE.]
All [HIGH-PITCHED VOICE.]
There is still a memory living There's a father unforgiving And a picture that is turned toward the wall - Bravo! - Yay! MAN: Bravo! [MUSIC ENDS, APPLAUSE.]
MAN #2: That was pretty! That's what I said! Good evening sir.
MAN #3: If you don't ask questions, I don't give answers.
Manners.
- I like you.
- I like you.
MAN #3: You aren't the same as the other guys.
MAN #4: No, I'm not.
So, what's your price? [SIGHS.]
What's your price? BIFF: Now, we've all kind of entertainment here, friend.
A little pleasure? - A little pain? - âMAN: Would you like to dance? What do you fancy? MAN #2: I need a drink.
I'm seeking information.
I want to know about Giorgio Santorelli.
[YOUNG MEN SCOFF.]
Hm.
And why should I tell you anything - I ain't already told the cops? - YOUNG MAN: He's so picky.
Because it could happen again.
Another one of your girls could disappear, and her dismembered body unceremoniously dumped in some lonely venue.
There's only so many times the police can look the other way.
["DAISY BELL (A BICYCLE BUILT FOR TWO)" PLAYS.]
All right.
What do you want to know? Who saw the boy? What type of clients were they? What were their predilections? The boy had a filthy mouth on him.
His regulars liked to hear how worthless they were, how they didn't measure up.
You Fifth Avenue swells don't suffer enough.
Gotta come here and pay me for it.
YOUNG MAN: [HIGH-PITCHED VOICE.]
by a glancing dart Planted by Daisy Bell But you should stick around.
You look like you might enjoy yourself.
the lot Of beautiful Daisy Bell Daisy, Daisy Give me your answer, do SALLY: Come on.
Don't be shy.
My name is Sally, and I can make âall your dreams come true.
It won't be a stylish marriage I can't afford [VOICES ECHOING.]
Upon the seat of a bicycle built for two [LAUGHS.]
[BREATHING HEAVILY.]
[CHUCKLING.]
[WHISPERING.]
Hey.
Over here.
[INDISTINCT WHISPERING.]
[CHUCKLES.]
How about I pay you $3 and you tell me what you know about Giorgio Santorelli? [CHUCKLES.]
$5.
No, no, no.
Tell me about Giorgio.
Gloria.
She had lots of regulars.
Some very nice ones.
Some very rich ones.
She only talked about the one with the silver smile, though.
Silver smile? What was his name? Do you know? You're not very fun.
[SIGHS.]
In fact, you're no fun at all.
Did she leave with him that night? The one with the silver smile? Gloria never left her room.
We heard her in there, but she never came out.
[BREATHING HEAVILY.]
We got tired of waiting.
When we broke the lock, there was no sign of her.
There was no sign of anybody.
It was a three-story drop.
And Gloria didn't have wings.
You're lying.
You're lying.
[GRUNTS.]
[COUGHS.]
[GASPING.]
Even without wings, Gloria flew away.
And someday I will, too.
Is that [GASPING.]
BIFF: Ain't that sweet? You know who he is? Hm.
I seen him before.
He's a friend of Roosevelt and that alienist son of a bitch.
This is an unfortunate situation, gentlemen.
I'm afraid it's gonna force us to take actions of our own.
What do you wanna do with him? [MOORE GASPING.]
Come on in, girls.
[MOORE GASPING.]
Kreizler.
Can you tell me what you saw? Giorgio Santorelli.
He's a boy-whore, âworked out of Paresis Hall.
Sara.
Get me the file on the Zweig case.
We need your help.
KREIZLER: The boy was a patient of mine.
An unsolved case.
Both my children are dead.
Because of you.
Look at anything that may connect Benjamin Zweig to the Santorelli boy.
I must follow this wherever it goes.
Even if it leads me to the darkest pit of Hell.
[WATER DRIPPING.]
Are many children brought here? We only get the poor ones.
It's the poorest children I'm interested in.
Specifically homicides.
Plenty of those, too.
There may also have been removal of the organs and body parts.
Grave robbers are still more common - than we would like.
- No, not grave robbers.
These mutilations would have served no medical purpose like the removal of the tongue.
Leviticus Deuteronomy Proverbs.
Proverbs.
I beg your pardon? You wear no sign of your faith, Doctor, yet you men of science insist you're not in opposition to God.
You insist you are God.
I insist no such thing.
I'll ask you again: Do you have experience of corpses in which the tongue was removed? No.
But if it's the boy-whore from the bridge, I'd say he had it coming.
[SHOUTING INDISTINCTLY.]
- [GRUNTS.]
- Shut her up, Doyle! [CRYING.]
Wait.
Don't be showin' your face no more around 300 Mulberry, you dumb guinea bastard.
[TRANSLATING IN ITALIAN.]
[SCREAMING.]
Anyone comes to see the Santorelli family, you tell 'em you ain't seen nothin'.
[SCREAMING.]
[THUD.]
[SHOUTING IN ITALIAN.]
This here's a warning, Mr.
Santorelli.
[TRANSLATING IN ITALIAN.]
You keep your dirty dago nose out of police business, eh? [GRUNTS.]
[INDISTINCT CONVERSATIONS.]
Captain.
CONNOR: 'Tis surely more pleasant on the eyes to have a woman on the premises, isn't it, Sergeant Doyle? Ah, 'tis.
Miss Howard.
Would the commissioner be about? He's attending disciplinary hearings this afternoon.
Right, well, I just wanted to let him know The Santorellis, they didn't have much to add by the way of facts to the killin' of their poor boy.
So don't hardly seem necessary to make any further inquiry along those lines.
Is there anything else? Beggin' your pardon.
Eyelash.
Huh.
Go on, blow.
Bring you luck.
Hm.
Make sure you tell the commissioner what I told you.
MRS.
TINKER: I don't think you've quite captured the line of her jaw, Mr.
Moore.
Hm.
[CLOCK CHIMING.]
There.
The resemblance now seems more correct.
Mm.
[HORSE NEIGHS.]
Oh.
Hello.
Connor's been to see the Santorellis.
Does Roosevelt know? He's not in.
But I want to go talk to them.
But you're employed as a typewriter.
I prefer the term "secretary," but I have good reason for wanting to involve myself.
You'll not be welcome in that part of the neighborhood, you know.
I may only be a secretary, but I do work for the police department.
Oh, the riffraff won't care about that.
Which is why I'll need you to accompany me.
They won't care about that either.
Are you saying you're afraid? [HORSE NEIGHS.]
[INDISTINCT SHOUTING.]
[DOG BARKING.]
Whoa, whoa.
Whoa.
[BARKING.]
Does Roosevelt know you're doing this? When it comes to the commissioner, I find it sometimes better to ask forgiveness rather than permission.
[WOMAN SHOUTING IN ITALIAN.]
[WATER DRIPPING, COUGHING.]
[RATS SQUEAKING.]
[BABY WAILING.]
SARA: Oh, my God.
A baby.
MOORE: âSara, I wouldn't touch it.
These children are often diseased.
Poor thing.
Where's your mother? Where's your mother? [MAN SHOUTING IN ITALIAN.]
[CRYING.]
[SHOUTING CONTINUES, BABY CRYING.]
[DOOR SLAMS.]
[MAN AND WOMAN ARGUING IN ITALIAN.]
[KNOCKING.]
MRS.
SANTORELLI: [SPEAKING ITALIAN.]
[SPEAKING ITALIAN.]
[SPEAKING ITALIAN.]
Mrs.
Santorelli.
[CHILDREN COUGHING.]
Prego, prego.
Il dotorre.
[SPEAKING ITALIAN.]
She thinks you're a doctor.
She called for one hours ago.
What should I do? I don't know.
Pretend.
[SPEAKING ITALIAN.]
Can you tell us about the men who did this to your father? [SPEAKING ITALIAN.]
Aspetta, mamma.
Aspetta.
Two was cops.
The other was some Holy Joe.
What did they say? They say Giorgio died in sin, that it was better for the family if we keep our mouths shut.
[SPEAKING ITALIAN.]
Calma, calma! Calma, mamma.
- [SPEAKING ITALIAN.]
- Calma.
I can't make out what she's saying.
She talks about my brother.
[CRYING.]
Giorgio wasn't like the other boys.
[SPEAKING ITALIAN.]
Papa, he beat Giorgio.
He call him a girl.
That's why he ran away.
[SPEAKING ITALIAN.]
[CONVERSING IN ITALIAN.]
She say police say Giorgio is the same as the other boys who were killed.
Nobody care.
Other boys? [SPEAKING YIDDISH.]
[CHUCKLES.]
Let me try that one.
[SPEAKING YIDDISH.]
WOMAN: That looks good.
[LAUGHS.]
Look.
The same knife marks.
We'll take this one.
[INDISTINCT CONVERSATIONS, SHOUTING.]
Thinking about becoming a socialist now, are you? You know the difference between capitalism and socialism? No.
In capitalism, man exploits man.
In socialism, âit's the other way around.
- [HORSE NEIGHS.]
- DRIVER: Hyah! Go on! Giddyup there.
[INDISTINCT CONVERSATIONS, SHOUTING.]
[SOFT MUSIC PLAYING.]
Every night, Dr.
Kreizler, every night, she touches.
The priest say she needs ice bath and leeches.
Leeches? The priest say âthe devil is in her mind.
That's why I bring her to you.
Mrs.
Rajk, there is nothing wrong with your daughter's mind.
You're becoming a young woman.
And there's not a thing your mother nor any priest can do about it.
- CHILDREN: 1, 2, 3, 4.
- Hmm? - CHILDREN: 1, 2, 3, 4.
- The body's the temple of the Holy Spirit.
It is a blessed gift not to be defiled by lust.
- 1, 2, 3, 4.
- Yes, I, too, learned Scripture when I was young.
But instead of answers, I found only questions.
Why does God allow us to feel both pleasure and pain? Why has he given a young girl like Berthe impulses and desires she cannot begin to fathom or control? - 4 - Is this the God of who we speak? This is a sanctuary for the young.
I will not tolerate its trespass, neither by man, nor by God.
Now, please, remove yourselves from the premises.
Excuse me, Detective.
[BREATHES DEEPLY.]
The commissioner âis looking for some files of unresolved cases.
Homicides.
Where might I find them? - The old dogs.
- âI beg your pardon? Unsolved cases.
They keep barkin' at you from the files like old dogs.
Woof.
Woof.
I see.
In there.
[INDISTINCT CONVERSATIONS.]
[DRAWER RATTLES.]
[DRAWER CLOSES.]
[LAUGHTER, INDISTINCT CONVERSATIONS.]
[SIGHS.]
MAN: [LAUGHING.]
I know.
[LAUGHTER.]
There were other murdered boys.
As I suspected at the morgue.
Who were they? The Negro boy's identity was unknown.
The other boy was named Aaron Morton.
I found a brief mention of him in the Herald about a month ago.
He worked at a brothel called Shang Draper's.
He was killed like the Santorelli boy and his body hidden on the Brooklyn Bridge.
It's imperative that we examine them to see if there's a connection.
Impossible.
The Negro morgue on Bleecker burns the remains of anyone left unclaimed.
And I could find no family, which means Aaron Morton was probably buried in Potter's Field.
But that's not all of it.
The files of both boys were kept hidden.
I found them only by chance.
There could well be others.
This information âis invaluable, Miss Howard.
Thank you.
Is Roosevelt aware of what you've done? No.
Have you plans tonight? Yes.
If I have a carriage sent 'round at 9:00, can your plans be altered? Is that a request or a command, Doctor? [CHUCKLES.]
âAs you like it, Miss Howard.
- [GLASS SHATTERS.]
- [GASPS.]
Let me help you.
[GLASS CLINKING.]
Thank you, Mary.
What else did you learn about Santorelli? His brother said that he was "different.
" Different? I had the distinct impression that other boys found Giorgio âin some manner effete or, well, inclined toward contrary sexual instinct.
Being effete and being inclined toward a contrary sexual instinct are two different things.
Now, was the boy one or the other? Or was he both the former and the latter? I'm sure I don't know.
All his brother said was that Giorgio was different from the other boys and that he'd run away.
- Was he beaten? - [SCOFFS.]
What boy isn't in that godforsaken part of the city? Two more boys murdered.
He needs to feed his hunger like an addict.
He can't go very long without killing again.
[DOOR OPENS.]
[FOOTSTEPS APPROACHING.]
MAN: Come closer, child.
What's wrong with your mouth? [HORSE NEIGHING.]
Hey! Hey! KREIZLER: âTell me about Miss Howard.
I'll tell you about Miss Howard if you tell me where we're going.
I've noticed âshe wears a man's signet ring.
Why do you take such pleasure in keeping everyone âin the dark about your plans? Hmm? [SIGHS.]
The ring was her father's.
A rather sad situation.
A hunting accident, or at least that was the official story.
The rumors were that he died by his own hand.
- How old was she? - â12.
At the time, âshe was sent to a sanitarium.
She'd lost her mother when she was still quite young.
Perhaps you should measure her skull to see how it affected her.
Have you interest in her? Good God, Laszlo.
I've known her since she was a child.
She's no longer a child.
I've not thought of her in that way.
Certainly you have.
No, Tessie.
I'll not wear an evening dress as I have no need to flatter myself.
Will there be gentlemen present? I should say, rather, there will be colleagues present.
Colleagues are gentlemen, too.
All the more reason to make an impression.
[MEN SINGING OPERATICALLY.]
KREIZLER: Who's that sitting with Roosevelt? You mean to tell me you don't recognize the mayor of New York City? That's Mayor Strong? Mm-hmm.
My God, he's aged.
[CHUCKLES.]
[MUSIC INTENSIFIES.]
[WOMAN SINGING OPERATICALLY.]
Hm.
His family grows by the day.
What are you talking about? J.
P.
Morgan.
Every beautiful young lady he's seen with claims to be his niece.
[CHUCKLES.]
Poor Roosevelt.
He dislikes the opera as much as you do.
Hm.
Doubtful.
Don't wait up for us tonight, Mama.
MRS.
ISAACSON: [SPEAKING YIDDISH.]
We have police business.
She means you stink like a 10-cent whore.
How would you know? - Mommy? - Hmm? [SIGHS.]
That's not tonight, Mama.
[BLOWING.]
[SINGING OPERATICALLY.]
- [MUSIC ENDS, APPLAUSE.]
- [GASPS.]
Is it over? Intermezzo.
[INDISTINCT CONVERSATIONS.]
Thank you.
Very well.
I shall be forced to drink for two.
Mayor Strong.
It's wonderful to see you again.
You're looking well, sir.
Thank you.
I'm Dr.
Kreizler.
The alienist? Good evening, Commissioner.
- Good evening, Mr.
Roosevelt.
- Robert.
- Theodore.
- Tom.
- Why tonight? - âMAN: Good evening, Commissioner.
I need something from you.
Examination of the Zweig boy revealed serrations on the malar bone and supraorbital ridge of both eyes.
Someone cut his eyes out with a knife.
This is neither the time nor the place to discuss the postmortem of a child.
I shouldn't even be seen talking to you.
It was no scavenger that left those marks, and if I were a betting man, - I'd wager rather a large sum - Good evening, Commissioner.
on the probability that the same marks will be present on the eye sockets of Giorgio Santorelli.
That will be determined by the coroner.
That may well take months, if ever.
And it's two more boys of the lower classes have recently be murdered, although your police seem to be more concerned with covering up the crimes than finding the perpetrator.
How did you come by this knowledge? That I cannot tell you.
Even if I wanted to, I cannot allow you access to the body, as it's still in police custody.
Your Isaacson brothers have proven themselves more than capable.
[BREATHES DEEPLY.]
T.
R.
J.
P.
Mm.
Damn it, Kreizler.
In addition, I shall require a liaison who will provide information from within the police department without revealing their connection to me.
Are you suggesting you should be allowed to conduct âa parallel investigation? Yes.
Your secretary, Miss Howard, is perfectly placed.
[HORSE NEIGHS, WALTZ PLAYING.]
Please, enjoy the rest of your evening.
Thank you.
[INDISTINCT CONVERSATIONS.]
MAN: Good to see you again.
Thank you.
Thank you.
All right.
Let go! Thank you.
[APPLAUSE, MUSIC ENDS.]
[INDISTINCT CONVERSATION, CLASSICAL MUSIC PLAYS.]
[CORK POPS, GUESTS GASP.]
MAN: How are you? [FOOD SIZZLING.]
[LAUGHTER.]
Are you perchance waiting for Dr.
Kreizler? Yes, I am.
I'm Detective Sergeant Marcus Isaacson.
This is my brother.
Detective Sergeant Lucius Isaacson.
I'm Sara Howard.
I work âfor Commissioner Roosevelt.
You're here to take notes? Frankly, I don't know why I'm here.
My apologies for the lateness of our arrival.
Charlie, you may let Monsieur Ranhofer know we are ready.
A toast.
To the beginning of a fruitful partnership.
I don't think the wine is kosher.
I thought we'd start with a terrapin soup au clair.
One of the specialties of the house.
I hope no one minds serious conversation while we eat, but I believe it's best to get a running start.
Well, perhaps you could tell us what exactly we're getting a running start at.
Oh, my.
[CHUCKLES.]
I've gotten ahead of myself, haven't I? - [DOORS CLOSE.]
- Of course.
I should explain.
MARCUS: Perhaps if we begin, your intentions âwill become self-explanatory.
Please.
We've already made Dr.
Kreizler aware of the results of our examination of the Zweig boy.
The torso was grossly violated while the eyes were carefully plucked from their sockets.
Gentlemen.
There is a lady present.
Oh, enough, John.
I am perfectly capable of hearing whatever it is that needs to be said.
- Hm.
- Continue, please.
Thus, we asked ourselves, "What instrument might be found capable of both cutting muscles and tendons and prying eyeballs from their sockets?" Behold, the Arkansas Toothpick.
The blade is strong enough to cause the wounds the boy suffered to his torso.
But finely weighted to delicately remove his eyes.
- [INDISTINCT CONVERSATIONS.]
- MAN: Come on.
[HORSE WHINNIES.]
MAN #2: Huh! Hyah! Let's eat.
You been grooming them horses, mucking out those stables, and touching your own private self.
Clean your hands before you eat.
I don't know why I have to keep telling you that.
KREIZLER: Gentlemen, you've done fine work.
But there may well be thousands of Arkansas Toothpicks about, even in New York City.
LUCIUS: Which is why we have something that may prove infinitely more useful.
Dactyloscopy.
The science of a finger, palm, or foot âleaving a chance impression.
The one on the left is mine.
And the one on the right is mine.
And yet we're twins.
Fraternal.
Hmm.
There are those, including the majority of our colleagues in the police department, who do not accept finger-marks as evidence, but the science behind it has It has been proved reliable.
[DOORS OPEN.]
I've read about this.
Isn't it surmised âthat a person's finger-marks do not change throughout their lifetime and that each is unique? Precisely.
âHowever, certain conditions must be met âin order to preserve them.
And bodies immersed in water like the Zweigs would not meet those conditions.
Indeed not, but we found this.
A bloody finger-mark left on the back of this timepiece.
We discovered the trinket within the Zweig boy's burial suit.
Their file referenced it.
It was found on the roof near the water tank, wasn't it? MARCUS: âAnd thus spared degradation.
A person leaving âa finger-mark such as this might as well drop âa monogrammed handkerchief.
And so he did.
MOORE: Who? You talk about him as if you know him.
We don't yet know him, John.
But we will.
We may not know his name or where he lives, but he exists in plain sight.
Though evidence does not immediately reveal him, there are hints and indications to his identity that he's unwittingly left behind.
Now, our task is to gather those hints and indications to construct an image of the man his age, his background, his habits, but most importantly, his appetites.
Look at who his victims are, where he commits his crimes, and what exactly he does to them until a pattern begins to emerge.
Each and every one of the choices he makes will reveal a hidden aspect of his alienated mind.
And there's one more thing.
We know the killer's conscious thoughts are fixed on violence.
If we get too close, that violence might well spill over onto us.
MOORE: You're not asking Sara to join this mad escapade of yours, are you? It will put her âin a most compromised position.
Look at the beasts that surround her on a daily basis.
I believe she's up to the task.
She's not as strong as she'd like you to believe.
John, please.
Do not let your affection for Miss Howard get in the way of logic.
My affection?! My God.
Do you never tire âof the sound of your own voice? Miss Howard is resourceful.
She's loyal to Roosevelt.
And because she's a woman, she's unlikely to arouse suspicion.
That is quite sufficient for my purposes.
And what is my role to be in all of this? Perhaps you've already played it.
MARCUS: It's something new.
Forensic science âmarried with human psychology.
One might easily imagine the ramifications if we are successful.
I rather like it.
Miss Howard.
- Miss Howard.
- Gentlemen.
- May I offer you a ride? - No, thank you, Doctor.
- Please go on without us.
- Very well.
- Good evening, men.
- Good evening.
John.
Are you coming with us? I'd prefer to walk.
SARA: At this hour? I'm not a child.
He's had too much to drink.
He was offered a ride.
Perhaps you might have insisted.
A little resentment and introspection will do him good.
He's not as strong âas he'd like you to think.
[CHUCKLES.]
You find that amusing? Our weaknesses sometimes serve us better than our strengths.
I'm surprised to hear you admit you've a weakness.
I was speaking metaphorically.
[TAPPING.]
- Stevie! - STEVIE: Yes, sir? Run along âand keep an eye on Mr.
Moore.
You bet.
CYRUS: Let's go, boys.
Let's go.
[HORSE WHINNIES.]
MATCHETT: The working man, woman, and, all too often, the working child are, in effect, the slaves of America.
[CHEERS AND APPLAUSE.]
We call on all honest citizens to unite beneath the banner of the Socialist Labor Party of America [CROWD CHEERING.]
that we may make use of our political liberty and bring an end to the current barbarous struggle of the oppressed.
[CROWD CHEERING.]
Evening.
- This emancipation - Yes.
is not only possible It is inevitable, since all we need do to move forward in equality is to stand together now in unity.
[CROWD CHEERING.]
Pardon my candidness, but I feel I must ask.
Did you have this evening entirely planned? What exactly do you mean by "entirely"? That we I would agree to assist you.
Aside from the job of scrubbing floors, you're the first woman employed by the New York Police Department.
That shows initiative and a desire to advance your place in society.
Am I mistaken? No.
I've asked the commissioner for you to be the liaison between us.
Your task will be to keep me informed of developments within the department and keep Roosevelt abreast of our actions outside.
And he agreed? Perhaps not in so many words.
CYRUS: Come on, boy.
[HORSE WHINNIES.]
Whoa.
Steady.
[HORSE WHINNIES.]
[CLEARS THROAT.]
May I assume you have an interest? It wouldn't be fair to assume anything about me, Doctor.
You look lovely this evening, Miss Howard.
[CARRIAGE DOOR OPENS.]
Cyrus.
Please see Miss Howard to the door.
Yes, sir.
I can see myself in, thank you.
[WOMAN SINGING OPERATICALLY.]
[CARRIAGE DOOR CLOSES.]
[CHUCKLES.]
[MOANING.]
[MOANS.]
What did you say your name was? Esther.
And you? Marcus.
Nice to meet you.
Likewise.
[INDISTINCT CONVERSATIONS.]
[DOG BARKING.]
MAN: Heads up! Yeah, sir, this will literally cure psoriasis.
MAN #2: Tie! Fine ties! Good ties! ["DAISY BELL (A BICYCLE BUILT FOR TWO)" PLAYS.]
MAN #3: Ladies and gentlemen take repose on this beautiful settee.
Step right up.
[SIGHS.]
[MUSIC ENDS, CHEERS AND APPLAUSE.]
YOUNG MAN: [HIGH-PITCHED VOICE.]
Far away beyond the glamour Of the city and its strife There's a quiet little homestead by the sea Evening, sir.
Where a tender, loving lassie used to live her happy life Contented in her lot as she could be Not a shadow ever seemed to cloud [MEN CHEERING.]
The sunshine of her youth And they thought no sorrow could her life befall Come here, son.
But she left them all one evening And their sad hearts knew the truth When her father turned her picture to the wall There's a name that's never spoken And a mother's heart half-broken Just another face that's missing from the old home That is [DEEP VOICE.]
All [HIGH-PITCHED VOICE.]
There is still a memory living There's a father unforgiving And a picture that is turned toward the wall - Bravo! - Yay! MAN: Bravo! [MUSIC ENDS, APPLAUSE.]
MAN #2: That was pretty! That's what I said! Good evening sir.
MAN #3: If you don't ask questions, I don't give answers.
Manners.
- I like you.
- I like you.
MAN #3: You aren't the same as the other guys.
MAN #4: No, I'm not.
So, what's your price? [SIGHS.]
What's your price? BIFF: Now, we've all kind of entertainment here, friend.
A little pleasure? - A little pain? - âMAN: Would you like to dance? What do you fancy? MAN #2: I need a drink.
I'm seeking information.
I want to know about Giorgio Santorelli.
[YOUNG MEN SCOFF.]
Hm.
And why should I tell you anything - I ain't already told the cops? - YOUNG MAN: He's so picky.
Because it could happen again.
Another one of your girls could disappear, and her dismembered body unceremoniously dumped in some lonely venue.
There's only so many times the police can look the other way.
["DAISY BELL (A BICYCLE BUILT FOR TWO)" PLAYS.]
All right.
What do you want to know? Who saw the boy? What type of clients were they? What were their predilections? The boy had a filthy mouth on him.
His regulars liked to hear how worthless they were, how they didn't measure up.
You Fifth Avenue swells don't suffer enough.
Gotta come here and pay me for it.
YOUNG MAN: [HIGH-PITCHED VOICE.]
by a glancing dart Planted by Daisy Bell But you should stick around.
You look like you might enjoy yourself.
the lot Of beautiful Daisy Bell Daisy, Daisy Give me your answer, do SALLY: Come on.
Don't be shy.
My name is Sally, and I can make âall your dreams come true.
It won't be a stylish marriage I can't afford [VOICES ECHOING.]
Upon the seat of a bicycle built for two [LAUGHS.]
[BREATHING HEAVILY.]
[CHUCKLING.]
[WHISPERING.]
Hey.
Over here.
[INDISTINCT WHISPERING.]
[CHUCKLES.]
How about I pay you $3 and you tell me what you know about Giorgio Santorelli? [CHUCKLES.]
$5.
No, no, no.
Tell me about Giorgio.
Gloria.
She had lots of regulars.
Some very nice ones.
Some very rich ones.
She only talked about the one with the silver smile, though.
Silver smile? What was his name? Do you know? You're not very fun.
[SIGHS.]
In fact, you're no fun at all.
Did she leave with him that night? The one with the silver smile? Gloria never left her room.
We heard her in there, but she never came out.
[BREATHING HEAVILY.]
We got tired of waiting.
When we broke the lock, there was no sign of her.
There was no sign of anybody.
It was a three-story drop.
And Gloria didn't have wings.
You're lying.
You're lying.
[GRUNTS.]
[COUGHS.]
[GASPING.]
Even without wings, Gloria flew away.
And someday I will, too.
Is that [GASPING.]
BIFF: Ain't that sweet? You know who he is? Hm.
I seen him before.
He's a friend of Roosevelt and that alienist son of a bitch.
This is an unfortunate situation, gentlemen.
I'm afraid it's gonna force us to take actions of our own.
What do you wanna do with him? [MOORE GASPING.]
Come on in, girls.
[MOORE GASPING.]