Sara enters an office and asks the very gruff looking Detective where to find files on unresolved cases. At first I think he’s going to give her a hard time, but he’s actually very helpful, showing her where to find the “old dogs” as he calls the unsolved files. Sara looks for the files on murdered boys, and discovers the files are missing. She then makes her way to Captain Connor’s empty office.
Sara begins searching through Connor’s desk and I become very nervous for her. I’m sure he’s going to catch her. When she finally finds the key to open a locked drawer Connor returns to station. My heart starts beating faster. Get out of there Sara! She finds two files on murdered boys hidden away in Connor’s desk. He is right outside in the hallway, he’s going to catch her. I breathe a sigh of relief as she manages to leave before he comes into his office…BUT, he does see her leaving. This does not bode well for her.
Sara and Moore are gathered with Kreizler in his sitting room. Sara tells the men about the files she found in Connor’s desk. The “negro” boy was unknown and the other boy was named Aaron Morton. Moore says he read about him in the paper, that he had worked at a brothel. He was killed like Giorgio was and the body hid on the Brooklyn Bridge. Kreizler wants to examine the bodies but it will be impossible to find their remains.
As this conversation is happening Kreizler’s housekeeper, Mary Palmer (Q’orianka Kilcher) is eavesdropping from the hall. I’m suspicious of this behavior, but then this show manages to make me suspicious of everything and everyone. Kreizler asks Sara if she can meet with him that night. Mary suddenly drops some china and it smashes on the floor. Sara helps her pick it up and Mary gives her a very strange look that Kreizler notices. The look on Mary’s face as she leaves the room screams there is something going on with her.
Kreizler asks about Giorgio. Moore says he got the impression that other boys thought he was “effete or inclined to contrary sexual instinct.” Kreizler snaps at Moore, practically berating him. He says they are two different things and which was it, or was it both. This frustrates Moore and it also frustrates me, Kreizler’s smug personality makes him very difficult to like.
As Kreizler warns the man won’t go long without killing again we see a young boy in tattered clothes laying on a bed. A man, or I assume it’s a man, comes into the room and in a very creepy whispered voice tells the boy to “come closer.” The man’s hand is very calloused and the boy whispers to him “what’s wrong with your mouth?” Now I will be checking out everyone’s hands and mouths looking for anything suspicious.
A Night Out
Kreizler and Moore are traveling somewhere in the doctor’s carriage, both dressed very elegantly in tuxedos. Kreizler is questioning Moore, who has no idea where they are going, about Sara. We discover that Sara’s father died when she was 12, rumors say it was a suicide, and that her mother died when she was quite young. Kreizler asks him if he has interest in her and when Moore denies it the doctor says “certainly you have.” His affect at times makes me wonder if he is somewhere on the Autism Spectrum.
It turns out the men were heading to the opera. Kreizler seems more interested in the people in the crowd, and Moore seems quite bored. Other patrons at the theater that night are Commissioner Roosevelt along with the Mayor of New York City. JP Morgan is also in attendance. During intermission Kreizler corners Roosevelt and requests that he be allowed to conduct a parallel investigation into the murders of the young boys. He tells Roosevelt he wants Sara Howard to be the liaison between himself and the Commissioner.