-[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.