Original subtitles

[tense music]

♪

- [grunting]

♪

[whimpering]

♪

- The more you fight,

the quicker the drugs will kick in.

[ominous music]

♪

First, you lose your ability to blink and speak.

♪

Then you won't be able to move at all.

♪

I'm gonna start with your face.

♪

- Are you sneaking out?

- [laughs]

I was trying not to wake you.

- [chuckles]

I wanna know everything about you.

- Oh, yeah?

- Mm-hmm.

Favorite dessert?

[chuckles]

What do you think of those driverless cars?

- Mm, not for me, and pistachio--

not in that order.

- How you got this scar?

- Yeah, that's--

that's for another day.

Stuff I'm not ready to scare you with yet.

- [sighs] Hey.

People call me in the worst moments

of their lives every day.

All right?

I can handle it. - OK.

[phone buzzing]

- [sighs]

Maybe you're the one that's scared.

[phone buzzing]

- Damn.

- Is everything OK?

- I gotta go.

Hey.

What do we know? - Well, not much.

Postal Service employee found by a groundskeeper

at 5:00 AM this morning.

- That's a crappy way to start a shift.

- Right?

Mosbach's ready to fill us in.

He says he's never seen anything like it.

- Hey. - Hey.

- Vic's prints came back to Vanessa Walker.

Prelim paints a pretty dark picture for the way

she spent her last 24 hours.

[tense music]

- That's got to be hundreds of cuts.

- More like a thousand.

Poor girl.

She bled out.

- What's her timeline?

- Figure she succumbed to her injuries

less than 12 hours ago.

- Based on lack of blood at the scene, ligature marks

on her wrists and ankles, I'm thinking,

what, Vanessa was held, tortured, and killed elsewhere?

What do you think, Maggie?

Body dump? - Yeah.

Look at her hands and feet. - Yeah.

It's the only part of her that's pristine and untouched.

- Right, so why go through

all the trouble of marking her body

just to leave her prints?

- You're thinking our killer wanted us to ID her.

- And find her.

Why else would he leave her

in the most popular park in the city?

♪

This isn't a dump site.

This is a demonstration.

- For who?

There's no witnesses.

- There's one.

- Yeah.

OK, eyes up, people!

The city is on high alert and for good reason.

Meet Vanessa Walker's killer.

He's wearing a hoodie, but maybe we'll get lucky

and he'll give us a glimpse of his face.

Here we go.

Staring us down like he's daring us to catch him.

Let's accept his challenge, huh?

I'm guessing he didn't give us a look at his face

on any of the park's other security cameras, yeah?

- No, this is the only footage we have of him,

taken around 3:00 AM when he dumped Vanessa's body.

- Yeah, clearly no face rec, but height diagnostics

place the suspect at 6'4".

- Yeah, big guy.

All right, so with no other visual,

we'll have to turn to Vanessa's side of the equation.

According to the ME,

it was death by a thousand cuts, right?

That is not an accident.

That is a message.

The question is, what is it trying to convey?

So does Vanessa have any enemies?

An ex, a relative? Let's talk about her.

- Yeah, I took a deep dive into her profile.

She was not just a postal worker.

She was VP of Human Resources.

Last month, she cut just over a thousand jobs in DC.

- So it could be poetic justice or our killer's version of it--

a thousand jobs, a thousand cuts.

- She lives in New York and travels back and forth.

But she should be in DC right now.

- Yeah? What was she doing here?

- Her office said she requested to leave a day early,

surprise her husband for their anniversary,

but no charges on her cards to indicate how she got here.

So maybe she paid cash to travel?

- Right.

All right, so back to the disgruntled employees.

If our killer is one of the guys she let go of,

how do we identify him?

- Uh, yeah, I'll get a list of employees

Vanessa laid off at the Department of Labor,

see if any of them are a height match to our killer.

- Exactly, great.

In the meantime, Maggie and Scola are

on their way to notify the husband.

Hopefully, he can help us narrow down

this list of suspects.

- I didn't know that she was in the city.

I don't understand.

She was not supposed to be back until tomorrow.

- She was gonna surprise you.

- I was in surgery all night.

I should have called out.

I knew something was gonna happen.

She told me not to worry.

I warned NYPD about him,

and they wouldn't listen to me.

- Hold--hold on.

Slow down for me, Peter.

You warned NYPD about who?

- Mack Fuller.

I told them all about him.

- We weren't made aware of that.

- He's been harassing us for weeks.

A lunatic--

he's convinced Vanessa killed his brother.

- Why would he believe that?

- I told the cops this already.

- OK. Do you mind telling us?

[somber music]

- Vanessa laid off Mack's brother about a month ago.

He took his own life.

Vanessa felt awful.

The worst part about her job is layoffs.

Mack wouldn't let her forget it,

harassing her for weeks,

phone calls in the middle of the night, threats.

- When was the last time you received a threat?

- Last night.

Guy drove all the way from DC to confront her.

Here.

See for yourself.

- You open up!

I'm not leaving until you do!

Open up!

♪

Ah!

- That look familiar?

- God.

What am I gonna tell my daughter?

♪

- Are you sure this is the right location?

- JOC confirmed Fuller just bought a coffee here.

- Who kills somebody and then buys a coffee?

- Someone who's proud of his work.

Morning. FBI.

I have a couple questions for you.

- Scola, I think that's him on the bench.

- Oh, yeah.

- All right, this could get nasty if he resists.

- It's gonna be up to him. You wanna go deep?

- Yep.

[tense music]

♪

Guys, you need to leave.

Mack Fuller.

♪

FBI.

♪

- Is this about Vanessa Walker?

- Yes.

♪

- Hands behind your back.

[handcuffs clicking]

Let's go.

- I know why I'm here.

'Cause I--I visited the Walker residence.

- I'm glad we're on the same page.

You wanna tell us why you were there?

- I was--

I was just angry.

I was blowing off some steam.

I shouldn't have done that.

- You always drive 4 1/2 hours to blow off steam?

- Just wanted a face-to-face

after my brother, he--

he shot himself.

Look, I never heard one word from her.

She put out that BS press release

about how sorry she was, and that was it.

- OK, so you wanted some payback.

What happened to your hands?

- I wish I remembered, but look,

I swear, you guys got it all wrong.

- I don't think we do.

[tense music]

That's you at Vanessa's house.

And we've seen that posture before.

- That's not me. - No?

- No.

- So what happened to your hands?

- I told you, I don't remember!

- Hey, listen to me.

"I don't remember" is not gonna help you in here.

- Look, you have it all wrong.

Last night, she never came home.

So I--I walked to a bar and started knocking 'em back.

- What bar?

- What?

I don't--I don't know.

It couldn't have been far-- a couple blocks away--

'cause the next thing I know, I'm waking up

on a bench in Central Park this morning.

- Yeah, the same park that Vanessa was found in,

cut from head to toe.

- Look, I-I didn't do this!

- No, you don't remember doing this

because you were blacked out, correct?

- No!

Well, yes, I was blacked out,

but I don't remember what happened--

- Then it's possible that you doubled back

to Vanessa after the bar.

- I am telling you, I am not a killer.

♪

- All right, tell me the blood on Fuller's shirt

is a match for our victim.

- Negative--it was a match for Fuller himself.

- OK, so guy gets fall-down drunk.

Maybe he fell down.

But that still doesn't explain the knuckles, right?

- No, but this does.

I tracked down the bar by Vanessa's house

Fuller claimed he went to.

Exterior bar surveillance shows him

in a fight with another patron just before close,

which is at 3:00 AM.

♪

- So this dude knocked Mack Fuller out

right around the time our killer dumped Vanessa's body.

OK, so Vanessa has no shortage of enemies, right?

Could this be a case of right motive, wrong suspect?

- I went through the list of layoffs.

Including Fuller, 30 of them match the height

of our killer, but only Fuller was in New York at

the time of Vanessa's murder. [phone ringing]

- Yes?

- Right.

So we could have the wrong suspect pool,

which would put us back to square one.

Great.

- Jubal, someone's here from "The New York Times."

♪

- Hey. - Hi.

Emily Stanton, deputy managing editor.

- Jubal Valentine.

Thanks--thanks for coming down.

- I'm just sorry we didn't catch this sooner.

Our mailroom gets all sorts of aberrant communication--

always has.

They didn't flag this at first, but--

well, see for yourself.

It should be in your inbox now.

- OK. Yeah, you wanna...

- Yeah. - Throw it up here?

OK.

"Hi.

"In two days, you're gonna find a woman

"I cut up under an arch.

"I had fun, gonna have a lot more.

Can you guess where I put the next?"

When did you receive this?

- Two days ago.

- What is that?

- This is the original.

[dramatic music]

- OK, I want this sent to graphology,

processed for prints and DNA immediately.

♪

Thank you for coming down.

♪

- All right, folks, check it out.

Vanessa Walker's killer is implying she was not

his last victim, which means we could be

witnessing a serial in the making.

Let's make sure that wheel doesn't spin any further.

Where are we with the graphology report?

- They're cross-referencing the killer's handwriting

with DMV signatures-- no match so far.

- No prints or DNA either.

All we know is the note was written on butcher paper.

- On butcher pap--

OK, any yarn to spin with that?

- No luck in narrowing it down.

- How are we doing with solving the killer's riddle

of where he put the next victim?

- Still working on it.

- "Can you guess where I put the next?

"You won't have to wonder for long.

She will be in a room made for stares."

S-T-A-R-E-S. So what is that? A theater?

A concert hall? An auditorium?

- No shortage of options in the five boroughs.

- Yeah.

We need more information.

Wait, what is this?

Is this--something's written on the back.

Do we have that? - Uh, yeah.

Forensics sent over scans of both sides.

One side is the killer's letter.

Other side is this pattern of arrows.

- Uh-huh.

OK, any idea what the pattern is?

- I think I do.

It's some kind of cipher.

- Have you tried folding it?

Yeah, like along these arrows on the outside or something?

- Mm-hmm, mm-hmm.

♪

- Yeah, something like-- or maybe--

- Yeah, yeah, I got it. - Yeah? OK.

♪

- Yeah, yeah! OK. Yeah, what is that?

- Wait, that's the symbol for the goddess Athena--

or Minerva.

- OK, so--so we got some kind of theater and--

- Wait. There's an arthouse cinema

in the village named Minerva, only open on weekends.

- OK, I want SWAT and our team there now.

[tense music]

♪

- Theater 1 is clear.

Meet me in theater 3.

♪

Ma'am?

FBI.

Oh, my God.

- Jubal, we just found our second victim.

We need ERT down here now.

♪

Is that what I think it is?

- Yeah, we got another letter.

♪

- All right, folks, so we have our second victim,

Laura Flemming.

- Jubal, according to the ME report,

based on Laura Flemming's decomposition,

her body was in the theater for two days.

She was placed there before Vanessa Walker.

- OK.

Is there any connection

between our two victims?

- Nothing besides race.

- And Laura doesn't even live in the city.

According to her parents, she was up

visiting from Philadelphia.

- So this could be a case of wrong place, wrong time.

That means any woman in the city could be in danger.

- Well, I've been going over the letter

we found on Laura, trying to see where it points.

- Right.

OK, so, "Hi. You found me. Good work.

"I hope you're having fun too,

"because this is only the beginning.

"I do this so they won't forget.

Where will I leave my next reminder?"

I don't know about you, but I'm getting sick of

this guy telling me where to look.

We're trying to find him, our killer.

All these little riddles are gonna do

is lead us to the next dead body.

All right, we need to go back over everything.

This guy thinks he's pretty damn clever, and that's good.

Overconfidence creates blind spots.

All these breadcrumbs he's dropping,

there's got to be one he did not intend to drop,

a clue he didn't mean to leave.

That is what we're looking for.

- Uh, yeah, got something.

So this second letter,

it's also written on butcher's paper.

But this time, there's a blind stamp in the corner.

That is a logo for a butcher shop in Carroll Gardens.

[dramatic music]

♪

- Hello?

[tense music]

♪

FBI!

♪

FBI!

Put down the knife now!

- Whoa, whoa, whoa, whoa, whoa. - Hands!

Show me your hands. - I'm just working here.

I'm just working.

- Thanks. All right, Barrett.

Alibi checks out.

Boss confirmed that you were working

at the time of both murders.

- Like I said.

- Well, butcher paper that we came across

in our investigation led us to this shop.

So do you keep a record of everyone you sell to?

- This isn't a big operation.

The boss is old school.

We encourage people to buy in cash.

- OK, any customers that stick out lately?

We're looking for a male, 6'4", heavy build.

- You mean Wesley Cookler.

He's a freak, man.

Got two different-colored eyes.

- What now?

- One's blue.

The other one is--

I don't know--it's different.

- OK. He's a customer here?

- No, man.

No, he used to be an employee here.

He worked here for a couple months.

He's no longer welcome.

- Why not?

- Gives off bad energy.

First, he was quiet.

And then he started asking questions,

weird crap like if, you know, I ever thought about

using one of these knives on a person.

He'd get this weird look in his eye

when he was talking all this craziness.

Anyways, the boss told me to let him go last week.

Still waiting for him to clean out his locker.

You guys can check it out if you want.

[tense music]

♪

- I know what this is about.

♪

- JOC ran the name Wesley Cookler--

no hits.

Definitely using a fake.

- Which means this is our only hope.

- You really think he's gonna help?

- Maybe if I talk to him alone.

Do you mind waiting outside the room?

- Um, I'd like to be with you.

- Well, I understand that, but this is best shot.

- Hey.

Why do you think he's gonna help you after

you've already locked this guy up twice?

- Because I have something he wants.

[door clangs]

[footsteps approaching]

[tense music]

♪

[door clangs shut]

- Special Agent Maggie Bell.

- Ray.

- What are you doing here?

- Drop the act.

- What act?

- Who'd you put to work out there?

Who is out there cutting up girls?

Who are they?

How long have you been in touch with him?

And where is he right now?

- I have no idea what you're talking about.

But I'm not inclined to help you after

you put me in here with rapists and murderers.

- You're exactly where you belong.

- No, you don't mean that, Maggie.

You know what I really am.

- I haven't thought about you one time until today.

Now, tell me who you're collaborating with.

- I'm not working with anybody.

- Look, you really think I'm gonna believe that?

- That's the truth!

You do with it what you want.

Best of luck to you.

I'm done here. Take me back.

- Are you sure about that?

[tense music]

You don't wanna take a look at the pictures?

See what he's doing?

♪

- Well, I mean, since you offered...

Take a peek.

Let's see what your man has been up to.

- He's been communicating with us through these letters.

♪

- I'm not interested in riddles, Maggie.

Show me the real work.

♪

No.

No, no, no, no, no, no!

He's ruining them.

[laughs]

Wow.

You really don't have a clue, do you?

[gasps]

You need my help.

Say it.

- Well, I'm here, Ray.

So yes, we need your help.

- We? The FBI?

I don't care about them.

You, Maggie,

you need me.

♪

Say it.

- I need your help.

- [sighs] Yeah, you do.

You really don't see it, do you?

It's so obvious once you see the pattern.

He's marking them, just like I did.

- Sandra Aiden, your first victim.

- There you go.

She put me on the map.

Every woman in New York couldn't walk down the street

without looking over their shoulder,

wondering if they were next.

- I remember that. - Yeah.

- So who are you working with?

- Oh, Maggie.

This isn't gonna work unless there's trust between us.

- You're not answering my questions.

- I'm trying to.

You're not listening to me.

I don't know who did this.

What I know is this...

amateur is out there,

and he's making a mess of these girls.

- He is copying you.

- Yes, of course.

Look at the marks.

Look at their faces.

That's exactly how I marked Sandra.

And then he adds his embellishments.

And then he does the most awful thing.

He kills them.

Such a waste,

all that hard work

buried in the ground where no one can see it.

- Well, I'm gonna make sure there's nobody else to bury.

♪

Excuse me.

Does Ray DiStefano get any regular visitors or mail?

- Guy only gets mail from his father.

He's got health issues, apparently.

Put in for furlough, but was denied by the board.

- Thank you.

All right, so he's not in contact with our killer.

So he has a copycat.

- Copycat who escalated to murder.

- Right.

- Cuts line up perfectly.

- [sighs] Yeah.

So it looks like DiStefano was right.

Our killer was copying the slashing

that kicked off DiStefano's violent spree 17 years ago.

The victim was Sandra Aiden.

The key difference is DiStefano never killed his victims.

So we're dealing with a different animal here.

- Yeah, BAU sent up their profile.

According to their psych eval,

he feels neglected in his day-to-day life.

He's seeking the same attention,

notoriety DiStefano garnered from that case.

- Well, that tracks.

The Sandra Aiden case got a lot of play in the press.

Mayor had to address it.

Women afraid to take the subway, walk home alone.

- Right, and he probably thought

he'd gain even more notoriety by upping the ante,

not just by escalating to murder,

but by taunting the media.

- Well, the timing suggests he was recently ignited.

Right after Maggie put DiStefano away again,

"The Times" did a piece about DiStefano's original spree,

calling it "an era of terror."

I think it's very likely why the killer

wrote to them specifically.

- Right.

So if we don't stop him,

it makes sense that he'll keep recreating Sandra's assault

over and over again.

Do we know where Sandra is now?

- She moved to Oregon after the attack.

Local PD checked in. She's safe.

- All right, so the clock is ticking.

DiStefano's clue is a lead.

You know, if the killer is fixated on Sandra

and that assault, let's talk about other details

from that crime that he might be interested in mimicking.

What else do we know?

- According to Sandra Aiden's case file,

17 years ago, DiStefano grabbed her

from Port Authority at 3:13 PM.

- Did we ever figure out how Vanessa got

from DC to New York? - Yes.

Port Authority surveillance caught Vanessa Walker

in the terminal at, yeah, 3:00 PM on the day

she returned to New York.

- Cameras lose her when she exits.

- This was Vanessa's last-known whereabouts.

And it's the same place and time

that DiStefano grabbed Sandra Aiden.

That cannot be a coincidence.

What about Laura Flemming?

- I'm checking her financials.

She bought a ticket for a bus

that arrived at Port Authority

the day before Vanessa's, but her bus got in

around the same time, 3:00 PM.

- You're telling me both our victims have

the same last-known whereabouts?

- Yeah, that's exactly what I'm saying.

- OK, so our killer is grabbing women

at 3:00 PM at Port Authority,

just like DiStefano did all those years ago.

- And he's on the same timeline.

At the height of DiStefano's spree,

he slashed a woman a day.

- [sighs] All right, looks like we have

just enough time to get down there.

I want our teams down to Port Authority.

I want eyes in that station.

Any woman arriving could be our next victim.

♪

[tense music]

♪

- Got eyes up on the bus from DC.

- Keep your eyes peeled for a suspect

with two different-color eyes, 6'4", white, heavy build.

- A lot of potential female targets.

They're spreading to the wind.

I mean, the suspect could be anywhere.

♪

All right, bus is clear.

I'm heading back inside.

♪

- Not easy to be looking for a guy with

two different-colored eyes

without seeming like you want a date.

- Come on, Scola.

You're telling me you don't know how to flirt?

♪

- Jubal. - Yeah?

Got one? OK.

We got a 3:17 arriving from Boston, gate 10.

- OK, I'm on my way.

- 3:20 from Philadelphia, gate 12.

- Copy.

♪

- Yeah, I don't know, guys.

Something's not making sense to me here.

Why is our killer grabbing these women

in broad daylight in the middle of a crowded station?

- He's right.

Too many eyewitnesses.

It'd draw too much attention.

- Maybe he's following them out, stalking them

and taking them when they're alone.

- Yeah, yeah, yeah.

Get me the outside cameras up on the board, please.

All right.

I got your eyes.

- Let us know if you see anything.

- OK, nothing yet.

♪

Hey, where is that?

- Taxi stand, upper level.

- Zoom in.

Are those two different color eyes?

- Looks like it. Brown and blue.

- OK, Maggie, our suspect already has his next victim.

Get to the taxi stand, upper level.

We're running facial rec on both right now.

- FBI! Move!

- Kelly, you get the IDs yet?

- Can't get a hit on facial rec.

Hoodie's in the way.

But the vic comes back

to Melody Walton, 22, from Boston.

♪

- Thank you.

Jubal, what's their location?

- We lost track of them, Maggie.

We're searching the cameras.

♪

OK, where'd they go? We just had them, right?

- There are blind spots across the pickup line

until you get to the exit.

- That means you could have passed them in the car.

- We need to stop every cab.

- OK, I got the back.

- Move! Move!

Hey!

- Hey!

Stop the car!

Open the door!

Come on!

- All right.

- Open the door.

Take off your glasses now.

[knocking on window]

- Hey!

Hello? Excuse me.

- [speaking non-English language]

[tires squealing]

[horn honks]

- Maggie, somebody just jumped out of line.

- Yeah. I see him.

I can't make out his face.

Hey, FBI! Slow down!

Stop the car!

[tense music]

Get out of the car!

FBI!

Get out of the car now!

[tires squealing] FBI!

I said, get out!

♪

Jubal, we just saw him.

License plate 8-6, Zebra, 5.

- Run it.

- Got him.

Daryl Lee Ricklan, 37,

registered taxi driver for five years.

He's got a rap sheet, bounces from detainment

to psychiatric care. - You got an address for him?

- Yes, in Tremont. - OK, Maggie, Scola,

suspect may be headed to the Bronx,

and so are you.

[banging] - FBI!

[indistinct shouting]

- Scola?

- Nobody here.

Place is empty.

[dialing on phone]

- Jubal.

- OK, Maggie, give me some good news.

- I don't have any.

Ricklan's place has been cleared out.

- Nothing to indicate where he might have taken Melody Walton?

- Nothing.

I might have to go back to DiStefano.

- Wait, why? You think he'll help us?

- His father's sick.

So maybe I can get his furlough,

and he'll cooperate.

- Well, no.

His father just died,

so you have nothing to offer him.

- What?

- He died in his hospice facility.

- Sorry, Jubal, does-- does DiStefano know

that his father passed?

- No, he hasn't been informed yet.

- Can--can you hold off on that?

I think I can make this work.

- Copy that.

♪

- There's only one reason you're here.

You didn't find him.

No.

You found him, and he got away.

- He did. - You see?

Honesty, Maggie.

See how easy that is?

- OK, you're right.

I need your help still. - Boring.

- What's boring?

- Playing cops and robbers with you.

Ignoring the fact that you and I are

so much more than that.

- I'm here to cut a deal with you for your assistance.

Whatever you think we have,

the relationship you've made up,

that is in your head.

- No, you can keep pretending.

- Look, I don't have time for this.

- Just keep pretending.

You can lock it away.

You can shut the door.

But eventually, Maggie,

the door is gonna burst open,

and you are gonna lose control.

- I know your father's sick.

[tense music]

And I know that your furlough was denied.

I can change that.

♪

- Wow.

You must be really up a tree.

You'd do that?

Oh.

He's taken another girl.

- And if we don't find him quickly, he's gonna kill her.

- That's not your only problem, Maggie.

He saw you.

He knows who you are.

He knows you're hunting him.

You, who put me away--

his hero.

- Where did you take Sandra before you cut her?

- [clicks tongue, sighs]

- Ray, we never found that out.

Listen, you need to tell me.

Otherwise, the deal is off the table.

- I took her to my home.

- We already checked Ricklan's home.

There was nothing there.

So did you stop anywhere else before that?

After?

- Yeah. [chuckles]

After.

♪

I was kind to her.

I stayed nearby,

waiting for her to be found.

- Where, Ray?

- It was near Cookler Street.

- Cookler. What was the intersection?

- Wesley. - Wesley. Yep.

- Wait. How did you know that?

- Because he's using the name Wesley Cookler.

And we thought it was a who, and now we know

that it's a where. - No, whoa, whoa.

Maggie, listen to me.

You need to be safe out there.

I know you don't want to be, but you're part of this story

because you're part of my story.

- I can take care of myself.

[tense music]

♪

- All right, all right, all right.

- All right, folks, Maggie solved Ricklan's latest riddle.

His false name, Wesley Cookler, is a combination

of two cross streets in Queens--

apparently, the location they found Sandra Aiden post-attack.

- OK, typing in those streets, nothing's coming up.

- That's because both streets were renamed 10 years ago.

Cookler Street is now Chester Boulevard,

and Wesley is Raleigh.

- Raleigh. - Yeah, OK.

There's an abandoned building at that cross street

awaiting demolition. - All right.

Get Maggie and Scola down there now.

♪

[tires squealing]

[dramatic music]

♪

- Maggie, in here.

Maggie?

There's no sign of Ricklan.

He had Melody here.

They're gone now. - Oh, God.

[sighs]

[whispering] Scola. - [whispering] What?

- [whispering] He's watching us.

♪

[phone ringing]

♪

- Wow, you found me.

- Yeah, we did, Daryl.

It's over.

It's time to return Melody Walton to us now alive.

- How about this?

I'll give her back to you when I'm done with her.

- I know you admire DiStefano's work.

I see what you're doing.

- No, no, that's not right.

I'm finishing the job.

And when I'm done,

my name will be the only one they remember.

- That's not gonna happen, Daryl,

because I'm gonna make sure that your name is forgotten.

- Oh, really?

I'll show you who'll be forgotten.

[screenshot clicks]

And by the time you find her, I'll be gone.

- I don't know what to say, Maggie.

He's about to kill her. We have no idea where they are.

- No, no, no.

At least we know that she's alive.

I know that was risky, but I got the screenshots.

So we have some idea of where they are.

- All right, folks, so Daryl Lee Ricklan

has Melody Walton, and he intends to kill her.

We were not able to trace his location from the video call.

But we're digging into Ricklan's past for any clues

as to where he might have taken her.

And what about the screenshots Maggie sent?

Any leads here?

- Yeah, the stones behind Ricklan

are this greenish-gray color.

It looks like serpentinite, which is a rock

unique to Staten Island. - OK.

So we're close. It's not a big island.

Does Ricklan have any connections to Staten island?

- Checking.

- Jubal, the letter, the second one

that we found with Laura Flemming,

the spaces were in the shape of a cross.

- Right.

Are there any churches made from the stone

in that screenshot?

- Uh, not finding any.

- What if it's not a church?

In the 17th century, crosses were drawn

on the doors of people infected with the plague.

If it's a clue to his next dumping ground--

- The abandoned smallpox hospital in Staten Island.

Get the whole team down there right now.

[tense music]

♪

All right, NYPD has got the perimeter.

Eyes up and stay quiet.

Ricklan could be anywhere.

If he hears us, that girl is as good as dead.

- Copy.

♪

- OK, SWAT, you're gonna take the south and west wing.

Maggie, Scola, you take the east wing.

Good luck.

♪

- Let's split up.

♪

Ricklan, drop the knife.

Show me your hands now.

- I got Ricklan!

- Her pulse is weak, but she's alive.

Get an ambo here now! - Copy.

Jubal, we need and ambo here.

♪

[thudding]

[grunting]

[blows landing]

♪

[whispering] Scola.

[dramatic music]

♪

Scola, you copy?

♪

Ricklan, come out--

[grunting]

♪

[heavy breathing]

[grunting]

- [yelling]

[grunting]

[shouting]

- You can scream.

Your friend won't hear you.

- This--this isn't how you get what you want.

- You don't know anything about me.

- I know that you want to replace DiStefano.

- No.

I would never do that.

What he did was beautiful.

He showed me what was possible.

But he got caught.

You didn't catch me.

I led you here.

I'm gonna start with your face.

- [straining]

[yelling]

[gunshot, body thuds]

- [gasping]

- Suspect down.

Jubal, we got Ricklan.

- [gasping]

[sighs]

- You OK?

- [gasping]

[dramatic music]

♪

[door buzzes]

- You catch him?

- Yeah. We did.

It's over.

- Good.

You're welcome.

Where's my furlough?

- That's why I'm here.

- No.

[sighs]

No, no, no, no, no, you wouldn't dare, Maggie.

I helped you.

You never would have found him without me.

- I agree.

And we were prepared to keep our end of the deal.

But it's not possible now.

- You lied.

- No, things changed.

- What changed?

- Your father died.

[somber music]

♪

- How?

- In his sleep, I'm told.

Sorry for your loss.

- When?

♪

You knew.

Oh, you lying bitch.

You lying bitch!

I'm gonna get you, Maggie Bell.

Nowhere is safe for you, Maggie!

I will find you if it takes a thousand years!

Nowhere is safe!

I swear to God, I'll get you!

I swear it!

[phone ringing]

- Hey. - Hey.

- Look, about this morning, um...

[sighs]

You're right.

I don't--

I don't let people in very easily.

But I--

I wanna try with you.

I wanna tell you about

the scar and--

I don't know-- whatever else comes up.

- Any chance you're free tonight?

- Yeah.

I'm headed home now.

Why don't you meet me there?

I'll see you soon.

[soft music]

[sighs]

♪

[dramatic music]

♪

[wolf howls]