All language subtitles for Signs.of.a.Psychopath.S05E09.In.My.Van.Im.the.Aggressor.1080p.AMZN.WEB-DL.DDP2.0.H.264-BurCyg_track3_[eng]

- [indistinct radio chatter]
- [siren wailing]

[heavy breathing]

MAN: The thing
inside of me, it's like...

the appetite --
it's like a wolf that's...

feeling the hunger.

SAHNI: The detectives,
you almost hear

their own shock
in the interview.

They're sitting down, ready
to investigate an auto theft,

and he's just taken it
to a place

of harm
to another human being

and potentially murder.

It's unbelievable to most of
us that someone would come into

a room, sit down, and just say,
"I dumped a body."

Connelly doesn't elaborate
right away, and sometimes,

we call this the --
the teasing effect

that you'll see in people
with psychopathy.

They dangle some information,
which we think is designed to

get them a response from

the viewer, sort of stun
them, and we think that they

derive some satisfaction
from that.

He acknowledges
that nobody even

knew that this victim
was missing.

But then they know about it
now, because he's starting to

disclose it,
but also because

after killing her,
he stole a car and was

driving erratically.

So there's definitely some
impulsivity, which is

a feature that we see
in psychopathy.

He describes himself
like a teacher or a coach,

which is like he's putting
himself on a pedestal,

like he's better than
the victim.

This is another element
of that grandiosity,

including even his comfort
with calling the investigators

"dude" -- I think it takes
a certain level of grandiosity

to be able to do that
in a situation like this.

And he's describing this
in a way as if

he's talking about something
other than a kidnapping,

a rape, and a murder.

For Connelly, for her to say,
"I don't want to move in

with you,
this isn't a relationship,"

or, "This isn't as serious
as you think it is,"

likely was
a massive rejection for him,

and it challenged the fantasy
that he had going in his head,

that fixed delusion, and that
may have been where there was

an eruption of anger.

TUSSEY: He talks about how
he wasn't aggressive at first,

but then he goes primal.

This speaks to
his grandiosity and narcissism.

He wants the power of being
able to get as close to her as

possible while he's sneaking
up on her.

And then ultimately, you know,
confronting her.

MORGAN: He refers to teasing
her, and it is sadistic.

He knows that
she's frightened.

So we get these three
different elements

as he's describing his rage,

his control, and manipulation
of her as he's already made up

his mind that
he's going to kill her.

Here, Connelly is saying to us
is, "I was calm. I was cool."

My guess is he had fantasized
for a while about being

sadistic and coercive, and now
that it was playing out,

it was acting
as a release for him.

There was a buildup, and
that's where he talks about,

he was calm and he was cool.

There is a bit of glibness
and superficial charm

that he's emanating -- even
though he may not seem charming,

he has this superficiality to
him, as if he's almost trying to

get them engaged in
the conversation, to lure them

in with his details and the way
he's describing what happened.

Connelly likely had some rape
fantasies, and those somehow

intersected with his fantasy

or belief that he was
in this relationship with

the victim --
he loves her.

They're gonna live
their lives together.

But to harm her sexually
challenges that reality,

and that is where we see him
dial back from that,

and he's going out of
his way to minimize the rape

and sexual assault
component of this.

SAHNI: Connelly talks about how
he duct taped her face as if it

was a humane act and how that
is a quick way to die,

which is ironic,
because it really isn't.

It's an incredibly tormented
way for

a human being to struggle
and be harmed.

And the fact that he
duct taped her face makes me

wonder if that was his attempt
to distance himself

and dehumanize her,

so he didn't have to look at
her eyes, he didn't have to

look at her face,
he didn't have to look at

this woman that he had
this romantic fantasy going.

MORGAN: Connelly appears to be
sniffing, sniveling, crying.

The display of emotion seems
very shallow or very

out of proportion to
the gravity of the situation.

If someone came in to admit
that they had murdered the love

of their life and that they
were remorseful about it,

we'd expect to see more than
this steady state of sniffing

going through, where he's
sniveling and wiping his nose.

But it -- it's very
superficial, very shallow.

He talks about
the adrenaline rush.

He can hear
his own heartbeat.

This is really --
it's really in that lane

of what we call a very sadistic
thrill form of killing.

It's quite arousing to him.

SAHNI:
He knows she was dead,

but then he also says, "I wanted
to spend some time with her."

This was the optimal condition
to be able to have

a relationship experience with
her, because she's not gonna

fight back.
She's not gonna protest.

You see that his value for
human life is that they're

objects, and that is very

clearly that psychopathic
trait that we see in

individuals where there's
no real value for human life.

Connelly exemplifies failure
to accept responsibility.

This is a trait that we see
in psychopathy

where individuals
will blame somebody

or some events
for their actions.

So if only the police
had noticed,

like, why are they focused on
this material object instead of

a dead body? Why didn't
anybody report her missing?

I think it's also a product
of his narcissism

and the idea that he is,

again, better than,
smarter than, more capable than

all of these people.

The loved ones in her life,
law enforcement, you name it.

SAHNI: He's just totally
disconnected to what he did.

Connelly's clinical
presentation isn't just about

a fixed delusion,

it isn't just about
being a criminal,

it's about being psychopathic.

He is totally
distanced himself

and has no connection to

the fact that that is
a human being that he killed.

You don't see any remorse,
you don't see any feeling of

guilt, a feeling of regret,
a feeling of empathy

for the fact that
the victim is now dead.