Although she's American, she's in Canada, where she has been summoned because she has special skills needed by the Montreal police. Before you find it odd that the Canadian cops lack a single law enforcement person with her expertise, reflect on this: They don't even know they're not in Montreal. At almost the very moment we hear "Montreal" on the soundtrack, there is a beautiful shot of the Chateau Frontenac in Quebec City. This is a little like Chicago cops not noticing they are standing beneath Mount Rushmore.
But I quibble. "Taking Lives" is actually an effective thriller, on its modest but stylish level. Agent Scott quickly figures out that there's a pattern behind the killings -- each victim is a few years older than the previous one, and the killer steals his identity, so he must be a person so unhappy to be himself that he has to step into a series of other lives. A moment's reflection might have informed him that his victims, were they not dead, would be keeping up with him chronologically, but maybe, you know what, he's insane.
There's a big break in the case when an artist and gallery owner named Costa (Ethan Hawke) surprises the killer at work, and is able to supply a high-quality sketch of a suspect. Another development: Mrs. Asher (Gena Rowlands), mother of one of the supposed victims, says the dead body is not her son. Then, not long after, she sees her son quite alive on a ferry. "He's a dangerous man," she tells the cops. He was one of twins, but let's not go there.
The cops include Olivier Martinez and Tcheky Karyo, one of whom resents Scott, while the other respects her. Her methods include devising elaborate timelines of the victims and their photographs, but her greatest gift is to notice little clues. When she spots a draft beneath a bookcase, for example, Nancy Drew is the only other sleuth who would have guessed that behind the case is a hidden door to a secret room.
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