Original subtitles

GIBSON: I've been brought in from the Metropolitan Police

to lead a review into the investigation

of the murder of Alice Monroe.

He had things entirely under his control,

which leads me to think that this was not his first murder.

Go back to your review, Stella.

I don't want the two murders linked.

GIBSON: Failure to see the crimes are linked

is the thing that will allow the killer to strike again.

Aah! Aah!

GIBSON: Do you think her hair's been clipped?

- Where? - GIBSON: There.

This is the third murder in three months, Jim.

If we don't stop him, he will kill again.

SPECTOR: Excuse me. Is this your purse?

Oh, um, thank you so much.

FERRINGTON: There's been a shooting.

The detective we saw near the Falls Road on Sunday night.

BURNS: James Olson was a married man, Stella.

You were a married man when you spent a night in my bed.

He clearly has a victim type.

They are not victims of chance.

They are victims of choice.

It's possible that he's out there

stalking his next victim now.

[Screaming]

There's someone to see you, ma'am.

Rose Stagg. A friend of Professor Reed Smith.

I spent years interviewing the victims of rape.

I don't think anyone ever felt worse after talking to me

about their experiences.

I have something terrible to confess.

I've been having an affair.

I called you to say it's over.

It won't be over until I stop you.

SPECTOR: You had your chance.

Now it's too late.

We have an E-FIT from Rose Stagg.

McCURDY: Could he really look like that?

FERRINGTON: Ma'am? Annie Brawley has regained consciousness.

GIBSON: Now let's try something different.

If you were on the other side of your bedroom...

standing by the window...

what would you have seen?

ANNIE: [Breathes deeply]

Me on the bed.

Him behind me.

I was on my side at first...

tied up.

What else?

[Breathes deeply]

GIBSON: Can you see him clearly?

No. [Sighs]

That's okay.

Let's take a step back.

[Breathes deeply]

Earlier that night you had dinner with your brother.

Do you remember what Joe had to eat?

Do you remember what you ordered?

[Sobs]

[Sniffles]

What are you doing?

Once upon a time, this worked for me.

ANNIE: [Sniffles]

GIBSON: You snap the band on your wrist...

when your thoughts and feelings overwhelm you.

[Band snaps]

[Band snaps]

[Breathes deeply]

[Band snaps]

[Notes play]

[Playing stops]

[Note plays]

ANNIE: Is that mine?

GIBSON: Yes.

It's been brushed for prints.

They only found yours.

You'll see some of the pages are dusty.

Some people find writing useful...

putting down thoughts whatever they may be.

Reading the entries you made might help.

I'm sorry.

I want to remember. I really do.

I know.

[Waves crashing]

ANNIE: My diary was in a drawer in my bedroom.

GIBSON: Yes.

ANNIE: He was waiting for me in my bedroom.

If he was wearing gloves, he...

he could have read it and not left any prints.

Yes.

Do you think that he read it?

Yes.

[Sniffles]

You know, it's hard for everyone,

because I look the same...

the same as I did before.

But I'm not the same.

[Cellphone buzzing]

[Cellphone beeps]

- Hello? - [Muffled talking]

- SPECTOR: Hello? - [Muffled talking]

SPECTOR: Hang on. Hang on. I've got a bad signal.

Hello?

OLIVIA: Daddy?

Livvy?

OLIVIA: Daddy?

Can you hear me?

OLIVIA: Yes.

Are you okay?

OLIVIA: Yes.

It's the middle of the night. Why aren't you asleep?

OLIVIA: I can't sleep.

Why, darling?

OLIVIA: I'm really worried, Daddy.

What about?

OLIVIA: My dollies.

I left them behind.

All of them.

When Mummy, me, and Liam left Scotland.

What did you leave behind?

OLIVIA: All of my dollies.

Where did you leave them?

OLIVIA: In the bath, I think.

Haven't you seen them?

No.

OLIVIA: Haven't you had a bath in all that time?

[Chuckles] It hasn't been that long.

OLIVIA: Nearly a whole week.

We have a shower downstairs.

OLIVIA: The thing is, I really need them.

Can you bring them when you come home?

I'm not sure when that's gonna be, darling.

OLIVIA: Why?

It was Mummy decided to go home, not me.

OLIVIA: I need them, Daddy. I really do.

Please, Daddy, please.

[Keys jingle, lock disengages]

[Sighs]

[Water running]

[Running stops]

[Creak]

GIBSON: Oh, Jesus!

Oh!

Don't you announce yourself?

BURNS: I thought that I was expected.

I wasn't sure you'd come.

Nice shoes.

Is that why I'm here?

To amuse you?

GIBSON: I'd always thought of him as stalking victims,

calculating the risks, planning it all out.

Very controlled, calm, cold-blooded.

The killing of Joe was different.

It was impulsive, bloody, hot-blooded.

If we didn't know it then, we certainly know it now...

That he's driven by huge amounts of rage.

So, we have an eyewitness

who can't quite bring herself to recall the face...

Masked or unmasked... Of the man who did all this?

It's a question of unlocking her.

She's traumatized, grief-stricken.

She just needs more time and more professional help.

It's been 10 days, Stella.

We're running out of time.

And money.

I had these drawn up for the Policing Executive tomorrow.

Emergency funding to support the investigation.

1.8 million?

Well, perhaps you can take a look at the figures

on the way home.

[Door closes]

[Lock engages]

We need to make some kind of announcement soon.

Indicate some kind of progress, allay fears, some good news.

I know.

Where's your car?

I'll walk you.

In those shoes?

I'm fine.

[Vehicle door closes]

Is this your car?

It is.

And I'd like him to get off it.

What are you doing here?

I want all of you to move away from my car.

What's the difference between James Olson and a black cab?

A black cab can take five in the back.

[Laughter]

What's your name?

What's that got to do with you, Little Bo Peep?

- Who's lost her sheep... - [Footstep]

Don't come back here again.

Do you hear me?

You're not welcome.

[Engine turns over]

[Rock thuds, glass shatters]

[Indistinct conversations]

[Lock disengages]

[Door closes]

Mummy?

Mummy?

I've made you a cup of tea.

SALLY ANN: You know you're not supposed to boil the kettle.

I haven't.

SALLY ANN: Oh.

Mmm. That's lovely.

When Daddy's back, I'll make him one, too, but with sugar.

[Sea gulls crying]

[Reporters shouting indistinctly]

REPORTER: Superintendent Gibson?

[Camera shutters clicking, shouting continues]

REPORTER #2: Detective Superintendent.

CALLAN: Detective Superintendent Gibson.

Would you like to make a comment on the piece

in today's Belfast Chronicle?

REPORTER #3: Are the reports that the surviving victim

is helping police with their inquiries true?

They are.

Are you prepared to meet Mrs. Olson face-to-face

to discuss your alleged affair with her husband?

I almost didn't recognize you.

- Really? - Why are you wearing that?

The same reason you're wearing that.

Yours is a Met uniform.

I'm a Met officer.

At least I was the last time I checked.

[Elevator bell dings]

I thought I should look as unfeminine as possible,

given this morning's Chronicle.

[Elevator bell dings]

It hasn't worked.

Just to warn you, Monroe is spoiling for a fight.

There's strong possibility he'll push for a 28-day review

into the progress of the Task Force.

You're joking?

What?

What, you think you're above such procedures?

Who would do it?

Well, we'd find someone.

KATIE: What do you want?

Cappuccino.

Two regular cappuccinos, please.

Sally?

Sally?

Sally? Did you not hear me calling you?

I'm late for work.

What's wrong?

"What's wrong?"

I don't understand.

Don't you?

No.

I know everything.

What are you talking about?

Paul confessed, Katie.

There's no need to cover for him.

Confessed to what?

Your affair.

Your three-month underage affair.

What?

In my house. Under my roof.

In my bed for all I know, while my children were sleeping.

This is bullshit.

What did he say about us?

"Us"? Jesus.

Whatever he's told you, he's lying.

Why would he lie about something like that?

I don't know.

Just leave my family alone.

There's been no affair!

What happened is, he attacked me.

What?

That night you left us alone in his study.

I'd come over to listen to music.

He took the opportunity to attack me,

pin me to the floor, climb on top of me...

Enough!

You have no idea who he is or what he's like.

Ask him about the lock of hair!

What's going on?

Bitch.

[Cellphone buzzing]

[Cellphone beeps]

[Cellphone chimes, buzzes]

[Cellphone beeps]

WOMAN: You have one new message.

[Beep]

SALLY ANN: I just bumped into your girlfriend.

You need to get your stories straight.

According to her, there's been no affair.

Just... Just some kind of sexual assault.

[Voice breaking] Jesus, Paul. What did you do to her?

Did you rape her?

In your study while the kids were sleeping?

She seems to think she knows you better than I do.

I don't know. Maybe she does.

This is... This is all so humiliating.

I want you to just stay away, Paul, okay?

From... From me, from the kids.

I just... I want...

[Cellphone beeps]

OFFICER: Good morning, ma'am.

[Knock on door]

- Yeah? - [Door opens]

Marion Kay is in the conference room, ma'am.

Thanks.

I was thinking, ma'am, that I should go back into uniform.

Really?

FERRINGTON: If you can spare me.

I can't.

Thank you, ma'am.

GIBSON: Tell me why.

I've often wondered why you took me off the street

in the first place.

Why do you think?

Because I was, um, struggling to deal with what had happened...

because I couldn't stop myself from shaking.

I don't go around rescuing patrol cops

who are disturbed by what they've seen.

I don't think so.

It was totally selfish.

I was new.

I wanted someone by my side, someone I felt I could trust.

I was impressed by your honesty at the scene.

I think I've learned a lot.

I think I can put it to good use on the street.

GIBSON: Mm?

Cheating death? Fighting for truth and justice?

Something like that, yeah.

I'll think about it.

Thank you, ma'am.

[Sighs]

Sorry. I have nothing new to tell you.

How's your father bearing up?

That's what everyone always asks me first...

How's Daddy?

It really pisses me off.

All the cards, all the letters of condolence...

they were all addressed to Dad.

Yes, of course. Sorry.

[Sighs]

How are you?

It's the right first question.

I know it is.

Fathers aren't supposed to bury their daughters.

But?

But I can't remember a time in my life when Sarah wasn't there.

There are so many "if onlys."

If only she hadn't turned the police away.

If only the locksmith

had changed the back door straightaway.

If only I had just made her come and stay with us.

I just wish I could think about something else...

For five minutes even.

But there is so much stuff all the time,

in the papers, on the television...

[Newspaper rustles]

And there's always Alice's picture.

It's never Sarah.

Today's paper even got her age wrong.

It's just to do with Alice's name, I think...

the Monroe connection, the fund that's been set up.

I worry because there's a number of victims...

Sarah's lost her identity a bit.

Not for me.

[Footsteps approaching, door opens]

- Yeah? - Rose Stagg has cried off...

Pressure of work.

[Sighs] All right.

[Door closes]

WOMAN ON P.A.: The train on platform two

is the Larne Harbor to Belfast Central service...

calling at Larne Town, Glynn, Magheramorne,

Ballycarry, Whitehead...

Rose, I really need to see you today.

I'm sorry. I have so much work on.

GIBSON: The interview you gave was informal.

I took notes, but...

I really need to get every last bit of information from you

if I can...

recorded, videoed, transcribed.

I know.

As I told you, when I met Peter, I already had a boyfriend.

GIBSON: Yes.

That boyfriend was Tom, who became my husband.

GIBSON: I presumed that.

And you never told him what happened?

No.

I had bruises all over my neck, really bad headaches.

My voice was hoarse.

So I simply stopped seeing him.

Rose, I understand it will be a difficult conversation.

But there are bigger issues.

I know.

GIBSON: Hello?

I'm here.

GIBSON: Talk to him tonight.

Come and see me tomorrow.

I can come in at noon.

GIBSON: I'll see you then.

[Woman speaking indistinctly on P.A.]

GIBSON: He's written, and he's phoned.

He derives pleasure, it seems,

from involving himself in the investigation.

And for that reason, I'd like to maintain the 24/7 monitoring

of my old private phone

in the hope that maybe he will call that number again.

Um, what kind of response to the composite likeness?

TURNER: The Rose Stagg E-FIT?

Good, but the fact it's from eight or nine years ago

has caused a degree of confusion.

Could he now be fat? Could he now be bald?

He's definitely not fat.

SPECTOR: Do you think that looks like me?

A wee bit maybe.

May I?

Go ahead.

[Pencil scratching]

SPECTOR: What about now?

A bit more now.

Do you think it's safe for me to go back to Belfast?

I don't think you've got anything to worry about.

Do you live in the city?

I do.

In South Belfast.

Two streets away from one of the girls that died.

Do you live alone?

Yeah.

How about you?

No.

No, I'm traveling back to my wife and two kids.

Ah.

The only possible excuse for a grown man

to be traveling with four dollies in his bag.

You're blonde?

All the other girls have been dark, haven't they?

Actually, I'm not.

Not what?

Blonde.

What do you mean?

I was dark, until all this started happening.

You're kidding?

LYNDSEY: There.

Proof.

I never would have guessed.

GIBSON: As we know, offenders tend to commit crimes

in areas that they are familiar with.

The first kill

usually takes place closest to that anchor point...

near a residence or a place of work.

If we look at the spatial relationships

between the crime scenes,

it suggests the offender lives in the University Quarter

or Ravenhill, traveling to and from the crime scenes on foot.

And that would make the attack on Annie in the Shankill

an aberration of sorts.

Presumably he somehow identified her as a potential victim...

Young, dark, attractive, educated...

And disregarded the fact

that she lived outside his natural territory.

GIBSON: And then he got into difficulties as a result.

We know that he fled on foot.

But he didn't run back towards the University Quarter.

He ran out east towards the City Airport.

That's a distance of 3 miles.

Why?

[Keyboard clacking]

McNALLY: Perhaps he has a place out there somewhere.

A lockup or a storage unit?

Or somewhere he changes or keeps a vehicle?

A trawl of CCTV cameras along his route from the Shankill

out towards the airport has offered up these images.

No clear view of his face.

The possibility that he has a beard.

I'm getting some video stills produced.

He anticipated that we would use human-scent dogs,

and he crossed a stretch of water.

I believe he took the murder weapon with him.

The search for that weapon is still ongoing.

GREEN: The truth is, we're pretty much running out of time

on the search for the weapon.

We've searched miles of the roadway

on the route we think he took, right up to the water's edge,

where the scent dogs lost him.

We've run a line across from that point

to where we think he emerged.

We're searching both sides of that line,

but the water visibility is nil... weeds, refuse.

My divers can only work by touch.

There's deep mud, too.

Basically we've run out of time and money.

[Mouse clicks]

[Mouse clicks]

[Mouse clicks]

It's been 10 days now, and there's been some speculation

that Nicola has stayed true to his word...

That he's gone away, that he's stopped.

I don't believe that it works that way.

Remember that there is a cycle that he goes through.

After an attack, there's a cooling-off period.

But then the deviant fantasies start to kick in,

and the pressure starts to build.

Remember, it's an addiction.

He takes his fantasies, and he turns them into reality.

It makes him feel superior to the rest of us...

mere mortals, as such.

In his own mind, he feels he has the right

to decide who lives and who dies.

In order to do the terrible things that he does,

the killer dehumanizes his victims.

Let's do the opposite...

Let's keep them alive...

for us, for their families, friends, work colleagues,

for the public.

Let's keep them alive until this man is caught.

Jesus.

God, you frightened me.

How did you get in?

Your side door was unlocked.

What are you doing here?

Why did you say those things to Sally Ann?

KATIE: What things?

SPECTOR: Things about me. You and me.

What things?

You know what things.

I told you to stay away.

I have.

How was I supposed to know she'd be there?

Why are you trying to make trouble for me?

Sally Ann now thinks that I attacked you

that night in the study.

You did.

She thinks I raped you.

She thinks we've been having an affair for months.

Where did she get that idea?

- I don't know. - Yes, you do!

- You told her! - Why would I do that?

I've been asking myself the same thing.

And?

Katie?

Are you okay?

Yeah.

Uh, this is Paul.

Oh.

I'll be up in a minute.

You sure?

Yes, I'm sure.

Why are you staring at her?

I'm not.

She's not your type.

I don't have a type.

Liar.

SPECTOR: I'm not lying.

Dark-haired, beautiful...

Katie.

Why would you lie to your wife?

What are you covering up?

You're playing a dangerous game.

I came here to tell you

to stay away from my wife and my children.

The police officer on the television

said the killer clipped a lock of hair

from each of the victims.

You had a lock of hair in your study.

I explained that. It was my mother's hair.

I saw the footage of you at the park...

the Botanic Gardens.

SPECTOR: We go there all the time.

It's Olivia's favorite place.

It's also where Sarah Kay went to meet her sister

every Saturday lunchtime.

What are you saying?

You said it, not me...

There's a strangler on the prowl.

And you think it's me.

Sally Ann called me that night to babysit

because she couldn't get ahold of you at work.

Then you came home in the middle of the night

with a cut on your face.

You were all weird.

If you think I'm a killer, why aren't you scared?

- I am scared. - Are you?

Yes.

You think I'm gonna strangle you?

Yes.

And your little friend upstairs?

Do you really think the killer

would identify himself so easily?

Grow up, Katie.

I'm just a husband, a father,

a man with a profession to protect.

Keep your crazy theories to yourself

and stay away from my family.

[Door opens]

[Lock engages]

[Police radio chatter]

[Indistinct conversation]

MAN: Roger. Come on.

MAN #2: Easy through here.

[Door opens]

[Lock disengages]

[Door opens, closes]

[Keys thud]

[Dialing]

WOMAN: You have reached the offices

of the Alice Monroe Fund.

Please leave a message after the tone.

[Beep]

I'm Paul Spector.

[Police radio chatter]

We're finished here, ma'am.

Can you give me a couple more hours?

I don't know, ma'am.

We'll find the money.

[Band snaps]

[Sniffles]

[Band snaps]

[Man speaking indistinctly on TV]

[Lock disengages]

LIAM: I'm hungry.

SALLY ANN: Well, you ate at Grandma's.

LIAM: That was ages ago.

SALLY ANN: I'll make you some warm milk, okay?

Livvy!

10 minutes till bedtime! Brush your teeth!

SPECTOR: "Dear Olivia...

I'm sending this letter to you all the way from Scotland

via Pixie Post.

I looked all day and all night,

but I couldn't find your dollies anywhere.

It makes me think you took them with you when you left.

Are you sure you checked your suitcase carefully?

Have another look. Check the front pocket.

I will see you very soon

and love you best in the whole wide world.

Daddy.

P.S... The Pixies prefer letters they deliver

to be kept a secret."

[Motorcycle approaching]

SMITH: Is this true?

Well, it's in the paper. It must be.

Why do you want to know?

I did the autopsy on James Olson.

I know. You showed me the pictures.

I had no idea that you had a personal relationship with him

- when I did that. - [Sighs]

There were scratches on his back

consistent with marks left by fingernails...

Fresh marks.

The most obvious explanation was sex,

and that suggestion was put to his wife,

and she said she was not responsible.

I see.

SMITH: And at no point did D.C.I. Eastwood

suggest that visiting you in your hotel room

was part of Olson's timeline.

So the marks went unaccounted for in my report.

I'm surprised by that.

SMITH: By what?

By Eastwood withholding that.

You didn't ask him to?

No.

So, was it you?

Made those marks?

[Sighs]

They don't feel sharp.

No.

Not anymore.

[Record scratching]

SMITH: How did you come to meet him?

I saw him...

on the street...

at a crime scene.

I thought I would be in Belfast for a week, maybe two.

I didn't think he'd be shot the next night.

I'm sorry he's dead.

I really am.

But it was one night.

It didn't mean anything.

[Knock on window]

Excuse me, ma'am.

The divers might have found something.

[Creaking]

- Mummy. Mummy. - [Grunts]

I need the bathroom.

What?

I need to do a wee.

[Moans] Ask Daddy.

NANCY: Where is he?

Mm...

I'm so tired, sweetheart.

Mm.

[Footsteps approaching]

Who are you?

Shh. Don't wake Mummy.

- MAN: Delta 7. - MAN #2: Roger that.

[Siren wailing in distance, police radio chatter]

Roger that, Delta 7.

[Airplane passing]

NANCY: Are you a friend of Mummy's or Daddy's?

SPECTOR: Your mummy.

NANCY: What's your name?

Peter.

Peter Piper.

Peter Piper picked a peck of pickled peppers.

A peck of pickled peppers, Peter Piper picked.

If Peter Piper picked a peck of pickled peppers,

where's the peck of pickled peppers that Peter Piper picked?

[Laughing]

That's called a tongue twister.

You try.

- Peter Piper picked a peck... - A peck of pickled peppers.

Where's the pickled peppers that Peter Piper picked?

Do it again, but do it faster.

- Peter Piper picked a peck... - A peck of pickled peppers.

Where's the peck of pickled peppers that Peter Piper picked?

That's really good. Just not too loud.

We don't want to wake Mummy.

Where are you sleeping?

I'll find somewhere.

Where's your room?

I'll show you.

Where's Mummy sleeping?

In there.

Mm, that's nice.

I'm sorry.

SPECTOR: Me too.

[Gasps]

[Muffled screaming]

I want you to come with me now.

I want to talk to you.

I don't want to have to hurt you, Rose.

I don't want to have to hurt your beautiful family.

But I will.

I will if you scream or cry out when I release you.

Do you understand?

Okay.

One...

two...

three.

Peter?