Original subtitles

I'm pretty sure that you referred to Spector by name.

Are you certain?

GIBSON: If you did, he knows that we're onto him.

I was due to see Mr. Spector, but is he the target?

SPECTOR: A hairdresser was booked to see Annie today.

She's been canceled, too.

But you let me come all the way in here before turning me away.

Aah!

- We've a problem. - What?

We've a collapsed ceiling.

What is that?

FERRINGTON: A body has been found.

- A female. - Where?

FERRINGTON: The Belfast Hills.

SMITH: It's not her. It's not Rose.

She's unidentified as yet.

Perhaps I can use her for 12 hours.

Do you know a detective called Tom Anderson?

Detective Sergeant, West Belfast.

I thought he might make a useful addition to our team.

Nurture your envy, Katie...

your anger.

It's the way forward.

What is it you want me to do?

[Blues music plays]

[Volume increases]

♪ Mama ♪

♪ Bring me my walking cane ♪

♪ I said "Mama" ♪

♪ Bring me my walking cane ♪

♪ I'm leaving on that midnight train ♪

JACKSON: Control. X Ray 1, update.

X RAY 1: From X Ray 1, no movement.

Nothing to report.

No sign of any builders, plumbers at the house?

No, ma'am.

The target appears to be playing loud music.

[Blues music continues]

♪ Mama ♪

♪ I'm drinking again ♪

♪ Mama ♪

♪ Said "I'm drinking again" ♪

EASTWOOD: You'll find in front of you

a target profile on Peter Paul Spector.

There's no date and time,

and the precise wording of the arrest is yet to be formalized.

I'll do that with the officer nominated and briefed

to make the arrest.

I'd personally like the arresting officer

to be the first interviewing officer if possible.

Do you have someone in mind?

I do.

EASTWOOD: I've made some inquiries.

That seems like it might work.

Good.

So far we've found no official record for Paul Spector

further back than his marriage to Sally Ann Goodall.

We're still waiting on John Paul Spector's Army records,

but one thing we do now know is that Paul Spector is not Jewish.

His father was born John Paul Marshall.

Marshall was adopted by the Spectors,

who were, indeed, a Jewish couple.

They devoted most of their lives

to adopting and fostering children

regardless of their race, color, or creed.

Thoroughly good people, it seems.

Where was this?

North London.

Is John Paul Spector still alive, do we know?

He's alive and in prison.

- Where? - Canada.

In prison for?

TURNER: Murder.

A female victim?

Male.

[Lock disengages]

[Lock disengages]

[Lock disengages]

[Door opens]

BURNS: I'm not sure if you remember me.

Jim Burns.

Of course I remember you.

I've followed your career with some interest.

BURNS: If I may, I'll get straight to the point.

I want to know if you remember this boy

from your time at Gortnacul Orphanage.

I believe he was there from the age of 10 to 13,

from 1989 to 1992.

Is this to do with the recent spate of sexual murders?

Why do you ask that?

It must be something of pressing importance

to bring the Assistant Chief Constable

all the way out here to see me.

Is this your man?

What can you tell me about him?

He was a very pretty boy.

[Fire crackling]

I've been following the progress of the case

in the newspapers, on the news, with considerable interest.

All those poor murdered girls.

There's a great deal of consternation

among the general public.

I'm well aware of that.

- I'd like to help. - You can.

By telling me what you remember about that boy.

Would you call me Father?

You've been defrocked, dismissed from the clerical state.

You are no longer a priest.

Do you know what is sung at a priest's ordination?

"You are a priest forever, like Melchizedek of old."

A priest acts on earth as an alter Christus.

That is, as another Christ!

I know one of your victims

believed that he was being touched by the hand of God

while you were molesting him,

because that's what you told him.

All of those boys were willing participants.

Every one of them consented.

I never forced myself on anyone.

They wanted to learn about sex, explore their sexual identities.

They enjoyed it.

If they deny that now,

it's because they can't face their real natures.

A child's consent does not count.

What you were doing

had nothing to do with exploring their sexuality

and everything to do with misusing power

and abusing trust.

I never hurt a boy physically.

And that's a source of pride? Is it?

Mm.

BURNS: Do you feel no shame?

No guilt?

Why should I?

Shame, for who you are...

guilt at what you've done?

I was showing children love, expressing affection.

By performing oral sex on 12-year-olds?

How many of those boys

still have faith in the Catholic Church,

still have faith in God, do you think?

It's a disgrace that I'm thought of as a common criminal

and all the good work I did over almost 30 is forgotten.

Even in this place, I continue my vocation.

A man dying on the floor of his cell

begged me for the last rites.

What would you have me do?

Turn away from him? Refuse to confer absolution?

I was obliged to dispense the sacraments

because an indelible priestly character remains on my soul.

I absolved sin.

One word from my lips

transformed mere bread and wine into divine flesh and blood.

That power can never be taken away from me.

This was a mistake.

I shouldn't have come here. Give me the photograph.

You're an important man.

You could let it be known

that I will lead the community in sincere prayer

for the apprehension of this individual.

Say... Say tomorrow at noon.

Men, women, children... It could be a mighty force.

BURNS: I'm sure there are plenty of priests

who could lead the community in prayer...

priests who aren't pederasts

serving a 20-year prison sentence.

I can perform any religious ritual

that is permitted to any layperson,

and no one can stop me.

BURNS: Let me have the photograph.

Father. Call me Father.

No.

Then I won't tell you what I know about this boy.

SPECTOR: I don't think I can.

I don't know what's gonna happen.

I don't... I don't...

I had an early night myself.

It's a beautiful night... Night... night.

The first example is the known recording of Spector's voice

from his interview with D.C.I. Brink.

The second, the call from Rose Stagg's phone.

I don't think I can.

I don't know what's gonna happen.

I don't... I don't...

I had an early night myself.

It's a beautiful night... Night... night.

Normally 20 or more different words

are needed for a meaningful comparison,

comparing two voice samples of less than 20 words

results in a less conclusive opinion...

Possibly instead of probably.

The call from Rose Stagg's phone

was very possibly made by Paul Spector.

It has been four days since Rose went missing.

Delaying the arrest in the hope that the suspect leads us to her

runs a number of very clear and obvious risks...

risks that, I think, we have to take.

[Doorbell rings]

[Ringing]

KATIE: Hey. This is Katie.

Can't come to the phone right now.

Leave a message, and I'll call you back.

[Beep]

Hi. Uh, it's me. I'm outside.

Have you left already?

I can't really wait, so I'll see you at school.

Bye.

GREEN: These are the thermal images from last night, ma'am.

The only heat signatures are livestock.

Is that all Goodall land?

Yeah, there's the farmhouse.

GIBSON: What's that?

That's your derelict building. Perhaps it's on the list.

We'll take a look later.

No sign of Rose Stagg's car?

No, ma'am.

We'll extend the search further south today.

GIBSON: We need to find that car, Ged.

S.O. 3: From 3.

That's the Benedetto girl into the bank on Waring Street.

I no longer have.

From 3, that's the Benedetto girl into the bank,

Waring Street.

3 no longer has, running loose.

5, can you cover?

From 5, entering the bank.

TURNER: Message from Control, ma'am.

The Benedetto girl has cut school.

She's on the move.

S.O. 5: From 5, I now have.

[Keyboard clacking]

Where is she?

JACKSON: In a bank on Waring Street, ma'am.

5 now has.

S.O. 5: From 5.

She's making a cash withdrawal. Looks like a large amount.

From 5. That's the Benedetto girl

out of the bank on Waring Street

walking briskly towards the river.

What's the word on Spector?

Sitting tight, ma'am.

S.O. 5: From 5.

The Benedetto girl is on the footbridge at Lagan Weir.

S.O. 4: From 4.

She's fixed a lock to the fence and thrown away the key.

A padlock that says "Katie and Paul" with today's date.

- A love lock. - S.O. 4: From 4.

The target is heading back towards Custom House Square.

X RAY 1: From X Ray 1, stand by, stand by.

That's the target out of the house.

Blue-and-gray hooded top, black tracksuit bottoms.

- [Camera shutter clicking] - On foot.

Left, left towards the Lisburn Road.

- Now running. - [Camera shutter clicking]

He's running. Repeat... He's running loose.

Left, left towards Lisburn Road.

Unsighted.

Out for a run or making a run for it?

X RAY 1: From X Ray 1, target is wearing a backpack.

Oh, Jesus.

JACKSON: From X Ray 1, that's the target out of the house.

Left, left towards the Lisburn Road.

Now running unsighted. All call signs respond.

GIBSON: It's Gibson. Is the surveillance blown?

DELTA: From Delta, not possible to say.

Have eyes on target running loose Ulsterville Avenue

approaching Lisburn Road.

GIBSON: Arrest strategy not yet in place.

Follow. Do not lose.

DELTA: Target now crossing Lisburn Road.

Repeat... crossing Lisburn Road.

JACKSON: Control. From Delta, target crossing Lisburn Road.

DELTA: From Delta, target is along College Gardens

heading towards Malone Road.

One-way street. Unable to pursue.

JACKSON: From Delta, that's the target

crossing the Lisburn Road.

Into College Gardens heading towards the Malone Road.

Call signs that can back Delta come in.

GOLF: Golf. I can.

Eyes on target crossing Malone Road.

Repeat... crossing Malone Road.

JACKSON: Control. From Golf, target crossing Malone Road.

GOLF: From Golf, target entering Botanic Gardens.

Main gates closed to vehicles. Running loose.

All call signs, I need cars blocking all exits.

Golf and Delta, drop two men on foot to cover the Gardens.

[Tires screeching]

[Horn honks]

GOLF: From Golf, S.O. 7 entering park

at Botanic Avenue entrance on foot.

S.O. 8: From 8, in Botanic Gardens on Stranmillis.

BRAVO: From Bravo, turning left on Ridgeway Street.

Heading to University exit.

[Tires screeching, horn honks]

S.O. 7: From 7, eastern edge of Botanic.

No visual on the target.

BRAVO: From Bravo, crossing Ormeau Road.

Turning left onto Annadale Embankment. No visual.

S.O. 8: From 8, southwest of gardens.

No sign of target.

JACKSON: Control. From 8.

No sign of target southwest of gardens.

S.O. 3: From 3, Benedetto girl has turned into Bleecker Street.

4 has.

[Door opens, closes]

From 4, the Benedetto girl

has entered the Bleecker Street Hotel on Bleecker Street.

Running loose.

JACKSON: From 4, the Benedetto girl

has entered the Bleecker Street Hotel. Running loose.

[Footsteps approaching]

What's happening?

We lost him.

BURNS: What?!

GIBSON: We think he's somewhere in the Botanic Gardens.

We have cars covering every exit.

All available surveillance operatives

- are in the gardens on foot. - S.O. 4: From 4.

I'm in the lobby of the Bleecker Street Hotel.

Room 12 is registered in the name of Paul Spector.

Call in the uniforms.

Spector's room is a crime scene.

It needs to be treated accordingly.

[Police radio chatter, footsteps approaching]

[Knocking]

Get down on your knees. Get down on your knees!

This is my hotel! It's my hotel!

MITCHELL: Drop what you're holding.

[Handcuffs clicking]

- On your feet. - What?

I can't walk the corridors of me own hotel?

[Knock on door, door rattling]

Police! Open the door!

[Pounding on door]

[Toilet flushes]

- [Pounding continues] - Police! Open up!

Open the door!

[Pounding continues]

[Toilet flushes]

Police! Open the door!

Katie, calm down.

You are under arrest.

- Get off! - Stop! Just stop moving!

[Handcuffs clicking]

[Grunts]

[Grunts] Get off!

[Grunts]

MITCHELL: Alpha Papa One Two to Uniform.

- We have the Benedetto girl. - [Siren chirps]

[Engine turns over]

GIBSON: We believe the girl

has attempted to destroy vital evidence.

It might be necessary to conduct a strip search.

Assign Hagstrom responsibility for her care.

We need to provide access to an appropriate adult.

And put her in a detention room, not in a... not in a cell.

BOYD: Understood.

Thanks.

BRAVO: From Bravo, no sign of target.

BURNS: Spector's juvenile criminal record.

DELTA: From Delta, no eyes on target.

From the South?

I went to see Father Jensen,

the pederast who ran the orphanage at Gortnacul,

where Spector was when he was a boy.

He remembered him well.

Peter Baldwin.

BURNS: P.B.

Was he abused by Jensen?

Jensen says not.

At 13, he was moved to Ballyvale.

It's a home in Dundalk.

It was there that it seems his criminal behavior began.

And you were right... Breaking and entering,

ignoring valuables, taking underwear.

And he kept a journal, too, it seems...

Voyeur's map of the town.

Days of the week, times of the day and night,

places where women could be observed,

notes about their appearance, age, habits.

Has prison changed Jensen?

No.

He's just as arrogant, just as narcissistic.

He's unrepentant.

S.O. 7: From 7, no sign of target.

Oh, where the fuck is he?

JAMES: Will you look who it is?

[Horn honking]

[Vehicle approaching]

[Tires screech]

[Vehicle door opens]

NASH: Stop that! Stop that!

Move back. Go. Move.

- [Groans] - Get down on your knees.

Get down on your knees.

Get down on your knees!

[Spits]

Where's my wife?

What?

Liz. Where is she?

- I don't know, Jimmy. - JAMES: [Spits]

Tell me, or so help me, I'll blow your fucking brains out!

I swear to you, Jimmy... I don't know where she is.

JAMES: Find out.

How?

Make some calls.

Now.

Find out where she is.

I don't have my phone.

JAMES: [Spits]

Make some calls.

[Cellphone rings]

Gibson.

FERRINGTON: Responding to an emergency call, ma'am.

The back of Elmwood Mews.

Elmwood Mews?

FERRINGTON: The person who phoned it in

described two men in bomber jackets, jeans,

and the third in dark running gear.

It made me think of the CCTV footage of Spector running.

- GIBSON: How far away are you? - FERRINGTON: Minutes.

All right, stay on the line.

SPECTOR: It's just, uh, I need to follow up for my case notes.

I really need to see her in person.

[Sniffs] Elizabeth Tyler.

Paul Spector.

She was in therapy because of the death of her son,

not because of domestic abuse.

That therapy was interrupted.

Obviously I'll treat any information as confidential.

She's asking her superior.

My knees are hurting. Can I get up?

You fucking can't get up.

It's lovely music.

What?

They got me on hold.

What's in your bag?

What?

Give me your bag.

- Give me it. - [Siren chirps]

- Oh! Oh! - [Gunshots]

GIBSON: Dani? Dani?

- [Coughs] - [Gunfire]

- What the fuck?! - Put the gun down!

- Nobody move! Nobody move! - GIBSON: Dani?

Keep your hands in the air! Keep your hands where I can see them!

[Gunshot]

- [Gasps] - [Coughing]

[Tires screeching]

FERRINGTON: Stay where you are. Don't move.

- GIBSON: Dani? - STONE: For fuck's sake!

- GIBSON: Dani, can you hear me? - You okay?

[Breathes sharply]

GIBSON: Dani?

Uh, sorry, ma'am. We've had a contact.

Were you hit?

FERRINGTON: Yeah.

[Wheezes] One in the flak jacket.

GIBSON: And Spector?

Is it Spector?

- STONE: Sir, come with me. - Yes, ma'am.

One moment.

[Breathing heavily]

[Siren wailing]

[Vehicle door opens, closes]

The suspect has fled the scene in a white City Clampers van.

He's 6'2", dark jeans, dark jacket.

He's bleeding from his face. He's taken my partner's gun.

Establish an outer cordon.

GIBSON: Dani?

Sorry, ma'am.

Is Spector still there?

Yes, ma'am.

GIBSON: Any injuries? Head injuries?

No, ma'am. He's, uh...

I think he's bleeding from his nose.

Okay. Don't let them take him to the hospital.

Dani, do you hear me?

Just keep him at the scene.

Yes, ma'am.

I've told the Custody Sergeant at the Serious Crime Suite

that you're on your way.

Can I help?

Yes, you can.

X RAY 1: From X Ray 1, stand by.

That's the target's wife

arriving at the house in the Volvo.

JACKSON: Control. Target's wife arriving at house.

- X Ray 1, wait out. - [Camera shutter clicking]

[Police radio chatter, camera shutter clicks]

That man was on his back, more or less as he's lying now.

Then he made a move, raised his gun.

That's when the male officer fired again.

Two more shots.

Now just bring the wrist up.

Don't let me push it forward.

Don't let me push it back. Thank you.

Just don't let me push down.

[Cellphone rings]

BURNS: Burns.

Understood, yeah.

Mr. Spector.

Thank you for your statements. We have your number and address.

We'll be in touch if we need anything more from you.

This is Paul Spector.

He's not worn any protective clothing.

Sign him out.

OFFICER: Will do.

Paul Spector.

Detective Sergeant Anderson.

I'm arresting you for the unlawful imprisonment

of Rose Stagg.

You do not have to say anything.

But it may harm your defense

if you do not mention when questioned

something you later rely on in court.

Anything you do say may be given in evidence.

Do you understand?

[Engine turns over]

[Knock on door]

MARTIN: Police officers!

[Footsteps approaching]

Sally Ann Spector?

Yes?

D.C. Glen Martin, D.C. McNally.

What's happened?

Sally Ann Spector, I'm arresting you

on suspicion of perverting the course of justice.

- What? - McNALLY: You do not have

to say anything, but it may harm your defense

if you do not mention when questioned

something you later rely on in court.

Anything you do say may be given in evidence.

Your mother's here to see you.

I don't want to see her.

HAGSTROM: Katie, you are a juvenile.

The law requires an appropriate adult

to be present during your custody.

Not her.

Not her.

[Sighs]

They came to the house and arrested me,

and they've bought me to the Down Serious Crime Unit.

- JENNINGS: Slow down, Sally. - I'm sorry.

JENNINGS: Why have you been arrested?

Perverting the course of justice.

JENNINGS: In what way?

They suspect that I lied when they asked me about Paul.

JENNINGS: What about Paul?

Where he was the night that girl died.

- JENNINGS: What girl? - The one in the park.

JENNINGS: Did you lie?

Yes.

JENNINGS: Is this your one phone call?

- Yes. - JENNINGS: Sally...

I'm not a criminal solicitor.

I should contact a colleague.

It's important you don't incriminate yourself.

I'm pregnant, Steve.

Please help me.

MAN: Please remove your top layer, sir.

Shoes.

LARKIN: Both the Benedetto girl and Spector

have mobile devices with video files on them.

Should we prioritize Spector's?

Yeah. Definitely.

WOMAN: Downloading now, ma'am.

[Buzzer]

MARTIN: I must advise you this interview is being recorded.

I am Detective Constable Glen Martin.

Detective Constable Gail McNally is also present.

The suspect's name is Sally Ann Spector.

Also present is the suspect's solicitor Stephen Jennings.

It is 22:00 on Monday, May the 7th.

This interview is taking place in the Down Serious Crime Suite.

I'd like each person here to identify themselves on tape

for voice-identification purposes.

D.C. Gail McNally.

Steve Jennings, solicitor.

Sally?

[Breathes deeply] Sally Ann Spector.

Just to make it clear, Sally...

the offense you are being investigated for

is perverting the course of justice.

What I am gonna do is ask you to give an account

of the answers you gave me when I telephoned you

on Saturday, the 21st of April

and asked you to give an account

of your husband, Paul Spector's, movements

on a series of specific dates.

I believe the account you gave me was false

and amounted to an attempt to pervert the course of justice.

Do you understand?

Yes.

MARTIN: Tell me in your own words

how you came to give me that account.

I lied.

I lied to you.

Uh, he called me before he went into the police station.

He said the police would probably come 'round to see me

and ask me to confirm what he was about to tell them.

He asked me to lie and say that I'd been with him that night...

that we were at home together.

What reason did he give, Sally?

When he called, he didn't give a reason.

MARTIN: So you just did what he asked?

Yes.

MARTIN: Did he ever give a reason?

Uh... yes.

When he came back from the station.

Tell them, Sally.

Paul worked on a suicide helpline as a volunteer...

every Friday night, all night,

and some other nights, as well.

[Voice breaking] Or at least that's where I thought he was.

When he came back, he told me

that he hadn't actually gone to work

for the last three months...

that he'd been having an affair.

MARTIN: Take your time.

SALLY ANN: [Breathes shakily]

He was having an affair with our babysitter.

She was 15 at the time.

I didn't know what to do.

[Crying] He said that if I told the police

that he'd be put on the sex offenders' list...

that he'd go to prison...

that I might even lose my job.

Is that what all of this is about?

ANDERSON: You understand that you're under a caution?

I should also remind you that you have a right

to free and independent legal advice...

and that you can talk to a solicitor on the telephone

if you so wish.

That light indicates the interview is being monitored.

You have been arrested because we believe

that on the night of Thursday, May the 3rd,

you abducted Rose Veronica Stagg from her home.

We also believe

that you have unlawfully imprisoned Rose Stagg...

that you're holding her somewhere against her will.

You may know Rose Stagg better as Rose McGill.

Your wife has been arrested.

Your home is being searched.

Katie Benedetto has been arrested.

The hotel room you were staying in is being searched.

Things could get out of control for you very quickly, Paul.

Are you sure you don't want to speak?

[Knock on door, door opens]

All the files have downloaded from Spector's phone.

There are some videos you should see.

ROSE: My wrists are sore.

Can you untie me, please?

Peter...

can you unloosen these, please?

I'm thirsty.

Can you untie me, please?!

[Sobs]

Please.

Please, can you untie me?

[Sighs]

Please take me home.

Please take me home.

My babies will be missing me.

They're only little. They're young.

They need me, Peter. They need me, Peter.

[Crying]

I'm sorry.

You were right... I did go to the police.

Go to the police.

I never will again.

If you untie me now, I won't tell anybody what's happened.

Please, Peter.

Please, Peter. Would you talk to me?

[Chuckles]

I miss what we had.

[Moans] I do.

Tom...

he's not like you.

You.

No one's like you.

Untie me, and we can have what we had again.

It can be better.

I know it's wrong, but I'm so turned on.

Are you?

Are you?

[Sobbing] Peter?

[Crying]

You fucking disgust me, you fucking piece of shit!

You fucking worm!

I know it's you.

You pervert.

[Crying] You fucking pervert.

You dickless piece of shit.

You're a monster.

You're a monster.

You're a monster.

You're a fucking aberration!

Fuck you! Fuck you!

[Crying]

[Screams]

Please, please take me home.

[Crying]

You must have had a terrible childhood to do this to me.

I feel sorry for you.

I really do.

You must have had a terrible childhood.

I feel sorry for you.

[Sobbing]

I don't want to die here! Peter, please!

[Wailing]

You want to be noticed?

You want to be paid attention to?

Make your mark?

Fine.

Hurt me.

Do whatever you want to me.

Go ahead.

Do your worst.

Nothing you can do

will ever take away how much I love my husband,

how much I love my children.

Nothing you can do can make me devalue my life in any way.

I will celebrate life.

I love, and I am loved,

and nothing that you can do can take that away!

Do you know that?!

Do you know that?!

[Crying]

SPECTOR: Why the fuck are you watching this?

You sick shit.

What the fuck is wrong with you?

[Keyboard clacks]

[Sniffles]

I think it's time for a special warning.

See if we can't make it that a court draws an adverse inference

from Spector's refusal to answer questions.

I'll pass it on.

[Door opens, closes]

ANDERSON: I want you to listen carefully

to what I'm about to say, Paul.

I'm now going to ask you to account for a fact.

The reason I'm asking you to do this...

is because I believe this fact

shows that you are responsible...

for the abduction and unlawful imprisonment

of Rose Stagg.

I must warn you that a record

is being made of this interview...

and may be given in evidence if you're brought to trial...

and that the court

may draw proper inference from your silence

if you fail or refuse to account for the fact

about which you are being questioned.

Do you understand?

I'm asking you to account for the presence on your phone,

the phone found in your possession

at the time of your arrest,

of a number of video files

featuring the image of Rose Stagg

and the sound of her voice...

and images of you.

What is your explanation

for those files being found on your phone?

[Lock engages]

[Footsteps departing]

[Cell door slams]

OLIVIA: Granny!

JENNINGS: They've finished questioning your daughter,

Mrs. Goodall, and they're keeping her in custody.

Will you be seeing her again tonight?

JENNINGS: I won't unfortunately,

but I will see her first thing in the morning.

Give her my love.

OLIVIA: Granny!

JENNINGS: I will.

You try not to worry.

OLIVIA: Granny, is that Daddy on the phone?!

[Cellphone rings]

Gibson.

LARKIN: It's Christine Larkin, ma'am.

Yes?

LARKIN: Some new results from the FSNI.

Tell me.

LARKIN: They've managed to type mitochondrial DNA

from the degraded blood sample found on the scissors

that ties them to the crime scene.

It's Joe Brawley's blood.

He's entitled to eight hours' uninterrupted rest, ma'am.

If we wake him, I have to reset the clock,

and you lose two hours.

Fetch the jailer.

[Clears throat] Yes, ma'am?

May I?

There's something I'd like you to do.

I'm D.C. Gail McNally.

Paul Spector, I'm further arresting you

for the murder of Joseph Brawley

and the attempted murder of Anne Brawley.

You do not have to say anything.

But it may harm your defense

if you do not mention when questioned

something you later rely on in court.

Anything you do say may be given in evidence.

Do you understand?

[Door closes]