The Alienist Episode 3
This week’s episode brings us many disturbing insights into several of the character’s backgrounds. The more we learn, the more I need to know. Will another murder bring the evidence needed to find the killer? Are they getting dangerously close to discovering his identity?
We open with former police chief Thomas Byrnes (Ted Levine) in a very grand dining room talking to Mr. and Mrs Van Bergen. Byrnes tells them about the murder of Giorgio, and that their son Willem was very fond of the boy. The very peculiar couple seem more interested in their pudding then this news. Byrnes tells them he just wanted them to know sooner than later. What an extraordinarily odd couple. I’d love to see if their son Willem has a silver smile.
Byrnes meets up in a bar with Paul Kelly (Antonio Magro) and Captain Connor (David Wilmot). Kelly is unhappy and says Willem has been warned before “no rough stuff with Biff’s girls.” Byrnes assures him the family has been warned. Byrnes then asks about John Moore (Luke Evans), who we last saw drugged up at Paresis Hall. Kelly says they don’t have to worry about him talking if he cares about his “good standing in the community.” Connor then makes a joke that hints to a drugged Moore being on the receiving end of some anal sex.
Oh What a Night
Moore wakes from a nightmare on a couch in the home of Dr Laszlo Kreizler (Daniel Brühl). Moore learns that Stevie (Matt Lintz) found him wandering around an alley in The Tenderloin District. I chuckle when Sara (Dakota Fanning) informs him he was found without his trousers. Moore remembers meeting Sally, and that he learned Giorgio (Gloria) was popular with the rich. He can’t remember anything else though.
Moore returns home and I do wonder where he found some trousers. He didn’t have any on when he stormed out of Kreizler’s. His grandmother is concerned about him, and assumes he did not come home because of his drinking. She tells him he needs to meet a nice girl and start a family.
The Hunt for Fingermarks
Kreizler, Lucius Isaacson (Matthew Shear) and Marcus Isaacson (Douglas Smith) are examining a large projection of the “finger mark” they found at the Zweig murder scene. Kreizler notices some areas where no “mark” is showing. The Isaacsons’ deduce it could be from cuts or a skin disease. I had assumed the marks we saw on the killer’s hands were calluses. I had not considered a skin disease. Lucius says they need a clearer print to be sure. Kreizler tells them to go to the morgue and check Giorgio’s body.
When the Isaacson brothers go to the morgue to examine Giorgio for finger marks they discover his body is missing. Sara delivers this news to Kreizler and tells him this is proof of corruption in the police department. She has convinced Commissioner Roosevelt (Brian Geraghty) to trust Kreizler over his own men. Kreizler tells her Roosevelt is isolated in the department. Sara tells him they are alone in searching for the killer, but that she thinks being alone suits him. At times it feels like they are attracted to each other, but Kreizler seems painfully clueless on how to properly express this to her.
Vassar Reunion
Sara is at her Vassar College Reunion and they are playing a parlor game. She asks her old roommate if they are the only two old maids left. Her friend then introduces her to Milton, her fiance. I guess that means Sara is the only “old maid” left from her class. She tells Sara she did not tell her before because she thought she might not approve. Makes me wonder what she is alluding to. Were they feminists who had sworn off marriage? Were they lesbians in their college days? It could be anything, and my curiosity is peaked.
Her friend then whispers to her that she and her fiance have “done it.” I would assume in the late 1800s this would be shocking news, but then again maybe not. Perhaps single people “did it” more than we realize in those days. Sara looks at her very peculiarly and her friend says one day she will know what she is talking about. She asks Sara if she has a beau and she says she does but it’s only just begun. I know where this is going, and I’m right. She tells her friend her beau is a doctor. I foresee a future event involving this “fib”.
“A Nice Girl”
Moore’s grandmother is attempting to set him up with a “nice girl”. It’s quite obvious that he wants nothing to do with this girl. The scene does give us some insight into his background though. We learn that he and his father rarely speak and that at some point in the past his brother drowned. The young woman, Caroline (who he mistakenly calls Madeline), says she is scared of the sea because it’s unpredictable. Moore says it was not the water’s fault, but an unsteady sailor’s. His does not come across as being upset by his brother’s death at all.
After seeing a pigeon fly off his window sill, Moore rushes to Kreizler to tell him about some memories that have returned. He shares the info about Giorgio vanishing from a third story window with no fire escape. Moore tells him that Sally said he “flew away” even though he had no wings. He also remembers he had a rich client with a silver smile. Kreizler decides he needs to talk to Sally himself.
The Hunt for Information Continues
Moore takes Kreizler out looking for Sally. When they spot him on the street he takes off running. When they catch up to him the doctor tells him they just want to talk. Sally leads them into an alley. Kreizler is interested in why Sally is working the street instead of in Paresis Hall. Sally says in the brothel they have to give most of their money to Kelly and Biff. Kreizler then asks about the boys dressing like girls. He says boys will do things real girls won’t do. Sally also tells him that over time you learn who to trust. After talking to Sally, Kreizler begins thinking that Giorgio went willingly to the bridge with someone he trusted.
Cyrus
Kreizler is surrounded by many books and pictures when his servant Cyrus (Robert Wisdom) brings him some more books. The doctor asks him to sit down and he picks up a picture of a brutally murdered woman. The picture is labeled “Mary Jane Kelly” and I have to wonder if she is related to Paul Kelly, the owner of Paresis Hall.
We learn that Kreizler testified at Cyrus’s murder trial. He told the court that seeing a woman beaten brought back memories of how his own mother died. That this set off an uncontrollable rage in him. Kreizler asks him if he agrees with this and Cyrus says he would agree with anything that kept the noose away from his neck. Kreizler makes Cyrus tell him what it’s like to kill a man. He reluctantly says the thing he remembers most is the pleasure it gave him.
Is Kreizler Hiding Something?
Cyrus had told Kreizler there was blood on his shirt, but he said it was ink. We find the doctor trying to clean the stain out of his shirt. It does appear to be blood, where did he come in contact with blood? And why is he lying about it? Kreizler is not able to lift his right arm. While it has been obvious from the beginning this is the first time it’s really showcased. He is struggling to clean the stain from his left cuff while wearing the shirt.
He then begins angrily undressing. Two thoughts came to mind as I watch his struggle to do this with only one hand. First it reminds me of myself, having recently injured my right arm, I’m sure this is how I look attempting to undress. Second it makes me wonder how he injured his arm. Was he born this way? Was there an accident of some sort? I hope we eventually find out this information.
Mary
As he finally gets his shirt off his servant Mary (Q’orianka Kilcher) enters the room. She then starts signing to him that she will wash his shirt. Mary can’t talk? I guess that explains what appeared to be “aloofness” in her. Did I miss this earlier? Or is this the first time we are made aware of her inability to talk? As she takes his shirt they stand there looking at each other in a way I’m not totally sure I can understand Stevie rushes in telling him there has been “another one”.
Another Dead Boy
Cyrus leads Moore and Sara into the old immigration station, it is being turned into an aquarium. The body is laying on a skylight on the roof. Cyrus explains that all the doors were locked and none of the keys are missing. I’m trying to come up with ways this killer is reaching all these heights. I’m picturing all sorts of old fashioned flying machines, giant balloons, acrobatic skills. None of it seems to make sense though. I’m dying to find out how he is doing this.
Roosevelt, Kreizler and The Isaacsons are already on the roof. Roosevelt tells Kreizler he has instructed the dispatcher to hold back one hour on the news. Kreizler tells him he should give him three hours. Sara looks on in shock as the boy is rolled over and it is revealed that he is also missing his eyes.
Captain Connor’s Fury
Roundsman Barkley enters Captain Connor’s office to tell him about the latest murder. When he tells him another “boy whore” has died Connor becomes upset that he was not told sooner. Barkley tells him the Commissioner and “those two sheeny detectives” had gone to the scene. This is the first show I’ve had to continually reference a list of ethnic slurs for to make sure I’m spelling them correctly. Connor and his men rush out of the station and he finds Byrnes already there waiting for him.
As Roosevelt deals with the press, who are already on the scene, Cyrus tells Stevie to get around front and let them know when the police arrive. The Isaacson brothers are examining the eye socket of the murdered boy. They say the eye was removed with the same instrument as the Zweig boy’s eye. Sara seems overcome with the scene in front of her. I guess she is not quite as “tough” as she lets on.
Probing the Killer’s Psyche
Sara figures out that the killer is attracted to heights. Honestly, I thought that was already quite obvious, but Kreizler seems excited by what she has figured out. Or maybe he’s just happy that she is becoming more like him in her thinking. He asks what else the scene tells her. She thinks maybe water plays a role and the doctor agrees. The pair also realize that the killer has evolved. He is no longer hiding his victims. As they discuss this we see a man hidden in the shadowy beams of the building. This must be the murderer. He did not escape the building after all.
Lucius tells Kreizler it appears the boy was strangled. He finds no defensive marks on his hands which shocks Sara. Kreizler explains strangling was part of a sex act and the boy trusted the killer. A fingermark is discovered on the boy and Kreizler wants it photographed. Marcus does not think it’s possible to reproduce something that small without enough light. Kreizler tells them to try, and they photograph it through a magnifying glass.
Time to Flee
As Captain Connor and his men approach the aquarium Stevie signals Roosevelt who then alerts Cyrus. He lets everyone on the roof know the police have arrived. Kreizler is hesitant to leave yet, but Moore tells him Roosevelt will be in trouble if he is discovered at the scene. He has to physically force the doctor to leave and Sara follows them off the roof. In their haste to leave Moore drops his sketchbook. I panic that the police are going to find this and have proof they were there.
Roosevelt tells Connor that The Isaacsons have already started their investigation and that his men should assist them. We then see someone opening Moore’s book and removing a folded picture. As the trio attempt to flee the building unseen they find the back door locked. Moore runs back to get the key off the wall. Connor’s men enter the building just as Moore scurries away with the key. They manage to escape out the back door without being seen. I’m still worried though about Moore’s book being discovered.
Poor Mary
Kreizler, Moore and Sara return to the doctor’s house where Mary has a large breakfast waiting for them. Instead of being grateful Kreizler snaps at her for being there without being asked. She looks so hurt and I feel so bad for her. Kreizler seems completely incapable of appreciating anything. Mary holds her head high though as she leaves and a shocked Moore has the courtesy to thank her for making the meal.
The doctor says they must use empathy to discover why this man kills. Moore is stunned by this statement. He reminds Kreizler the man kills children for pleasure. Kreizler’s response to this is to offer Moore a book titled “Psychopathia Sexualis” to help him put himself in the killer’s place. Moore says that notion fills him with loathing.
Kreizler Loses It
I would guess Kreizler is not happy with Moore’s reaction. He falls back to his usual tactic of probing into people’s psyche when confronted. He asks Moore why he seeks the companionship of strangers. Kreizler brings up many painful events from his past; his father’s disapproval, his brother’s death and a new bit of information his broken engagement.
Kreizler decides that the killer may be reliving a traumatic event in his life. He then asks Sara how she coped with her father’s suicide. Sara just stares at Kreizler as Moore tells her she does not have to answer. Kreizler persists in digging to find out what Sara uses to help her deal with the pain. Moore tells her to come with him and Kreizler tells her to go on and leave. A single tear drops from Sara’s eye making my heart ache. Kreizler’s cruelty is unbearable. It makes me wonder what HIS past pains are and how HE deals with them.
Sara and Moore
In the carriage Sara gives Moore a dirty look knowing Kreizler must have learned about her father from him. He tells her the doctor asked, so he just told him the truth. Sara asks him about Mary, knowing that his reaction was more than just reprimanding a servant. Moore tells her that Kreizler took Mary in when she was young. When Sara asks why he tells her that Mary burnt her father to death, and that it took her several attempts to set him alight. Sara looks properly horrified by this news.
Sara tells Moore that Kreizler was embarrassed to show his concern for Mary in front of them and this made him angry. Moore tells her she is beginning to sound like Kreizler. I think she likes that comparison. She tells him he can be quite amusing when he wants to be. Moore misinterprets her statement and leans in to kiss her on the cheek. He does not misinterpret her reaction to it though. He pulls away looking quite embarrassed.
As the episode ends Moore discovers his sketchbook is missing. We then see the killer stroking the picture Moore had done of Giorgio’s body. I love that this episode gives us little bits of background information about most of the characters. As we learn more about everyone around Kreizler I’m becoming eager to find out what makes HIM tick. I’m sure he has some very deep wounds hidden under his very pompous exterior.
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