All language subtitles for The Fall S02E06 What Is in Me Dark Illumine.DVDRip.HI.en.BBC

- Get off me!
- Just stop moving!

MITCHELL: Alpha
Papa 1-2 to uniform.

We have the Benedetto girl.

- Where's my wife?
- Don't know what you mean.

[Gunshots]

Sally Ann Spector,
I'm arresting you

on suspicion of perverting
the course of justice.

What?

Paul Spector, I'm arresting you

for the unlawful
imprisonment of Rose Stagg.

GIBSON: No sign
of Rose Stagg's car.

GREEN: No, ma'am.

GIBSON: We
need to find that car.

ANDERSON: I'm
asking you to account

for the presence on your
phone of a number of video files

featuring the image
of Rose Stagg.

I am loved, and nothing that
you can do can take that away.

Do you know that?

Do you know that?!

ANDERSON: What
is your explanation

for those files being
found on your phone?

[Engine shuts off]

Detective Superintendent Gibson.

Thank you.

[Indistinct talking]

[Police radio chatter]

Hey, Ged.

Seems the car was set
on fire deliberately, ma'am.

GIBSON: Is it
definitely Spector's?

GREEN: Yes, ma'am.

It looks like the car exploded

with the stuff
scattered far and wide.

[Camera shutter clicking]

- GIBSON: Was it extinguished?
- GREEN: Burned itself out.

No human remains apart
from some burnt hair,

most likely from the
mannequin in the boot.

We should get
this car to the labs.

I need the forensic evidence
and as fast as possible.

Yes, ma'am.

Tell me where the car
is on these photographs.

GREEN: There.

Have we checked
this building yet?

GREEN: Not yet, ma'am.

GIBSON: Those look like
Rose Stagg's tires to you?

GREEN: Could well be.

We should wait for my
team to arrive, ma'am.

She could be in there.

New padlock?

Fetch the bolt cutters.

ROSE: I feel sorry for you.

I really do.

GREEN: Ma'am?

You must have had
a terrible childhood

to be able to do this to me.

I feel sorry for you.

No one here.

[Indistinct conversations
in distance]

Establish a cordon,
protect the scene.

Get the photographers
in first, then the CSIs.

The whole area will
need to be searched.

We might need protective tents.

You think she was in here?

I know she was.

The question is,
where is she now?

[Grunts]

[Siren wailing in
distance, dog barking]

[Birds squawking]

[Cellphone ringing]

Hello?

MAN: Jimmy?

Yeah?

MAN: It's me.

I think I found your missus.

Where?

MAN: On the esplanade in Bangor.

She just went into
one of the houses.

Hold on.

It's number 92.
If it wasn't her...

BOYD: The Benedetto girl

is still refusing
to see her mother.

An Appropriate Adult
should be here by 9:00.

She's been advised that
she's entitled to legal advice

but has declined to obtain it.

That said, she's
still a juvenile,

so we need to keep the period
of detention to a minimum.

Oh, I know.

We're bringing Sally Ann
Spector up from the cells now

- to resume her interview.
- Good.

Also, Tom Stagg is
here to see you, ma'am.

GIBSON: Later today, an
announcement is going to be made

to say that a man
has been arrested

and is being held in
custody on suspicion

of the abduction and
unlawful imprisonment of Rose.

That same man has
also been arrested

for the murder of Joe Brawley

and the serious sexual
assault on his sister, Annie.

I also believe that
he's responsible

for a number of
other recent murders.

So...

Really you're telling...
You're telling me Rose is...

Rose is dead.

No, I'm not saying that at all.

Not at all.

What's his name?

Is it Peter?

I can't tell you that until
charges are brought.

Has he given any
information about Rose?

Or where she might be or...

Or what's he... What's
he done with her?

No.

But we will keep
questioning him.

MAN: I saw her,
the wife, Sally Ann,

being taken away in a car.

NED: When was this?

Yesterday afternoon.

How are you
spelling that surname?

I don't know. Spector.

- I don't know how you spell it.
- [Ringing]

- MAN: Yeah?
- It's Ned.

Who do you have in
custody at the moment?

MAN: Why?

It's just a story
I'm working on.

MAN: Do you have any ideas?

I'm thinking.

Sally Ann Spector.

- MAN: Go on.
- Paul Spector.

That's right.

NED: Is there much excitement
surrounding that arrest?

Paul Spector?

MAN: Very much so.

Jimmy?

What are you doing here,
man? There's police everywhere.

What's happening?

There have been arrests.
They're searching that house.

Good.

Good?

You know him?

He did this.

When?

Jimmy, I need to get
that story from you.

- I need your car.
- What?

You heard me.

Jimmy, please.

[Keys jingle]

Jimmy, not my phone. My
whole life's in that phone!

[Engine turns over]

TURNER: Ma'am.

We have the downloads
from Katie's phone.

There's something
you should see.

KATIE: What are you wearing?

SPECTOR: Nothing.

KATIE: Prove it.

[Knock on door]

You wanted to see me?

I thought that Katie's diaries
were a complete fabrication,

with alibis for Spector and
detailed sexual encounters.

A schoolgirl fantasy.

Then this shows up on her phone.

[Spector breathing heavily]

I'd like you to lead on
the interview with her.

She's a juvenile.

If sex is the issue, would
it not be more appropriate

if she spoke to a person
of the same gender?

Yes, probably.

[Key clacks]

Also easier for her.

Which is why I want
you to go in first.

Whatever she says,
just keep listening.

Give her your
undivided attention.

She's obsessed with Spector.

Let's see how she deals with
somebody of a similar age...

similar looks.

[Door opens]

[Door closes]

[Click]

ANDERSON: You see
that light that's just come on?

Yes.

That's to indicate the
interview is being monitored.

Okay.

Tell me how you first
came to meet Paul Spector.

I was 14.

My mother knew Sally Ann.

I started babysitting for them.

ANDERSON: How did
the relationship develop?

You've read my diary?

ANDERSON: Yes, I
have read your diary.

It's all in there.

Tell me now, Katie,
in your own words.

I want to hear it from you.

Most nights when I babysat,
Paul would walk me home.

We'd walk for ages, just
talking about music and poetry.

He's read so many books.

He knows so much
about art and literature.

I write and record songs.

We started talking about music.

He listens mainly
to blues music.

I wrote a song for him.

I played it to him
one night in the study.

That was the first
time we kissed.

It's in the diary.

It was a gentle kiss at
first, just lips touching softly.

But then it became
more passionate.

Sally Ann was downstairs,
so we had to be careful,

but he opened my shirt.

Kissed my breasts.

Licked and sucked my nipples.

I put my hand on the
outside of his trousers,

felt how big he was.

He was getting hard.

And that was as far
as it went that first time.

[Knock on door]

We waited a few minutes
and went back downstairs.

Ma'am, there's more.

ANDERSON: And this
was when you were 14?

[Click]

Yes.

You know Paul
Spector can go to prison

for the things you're saying?

We love each other.

You love each other?

Completely.

A trawl through Dolan's computer

has turned up thousands of
recordings made in his hotel.

The whole place seems set up
to allow him to spy on his guests,

including Spector.

[Key clacks]

He tied her up,
then he left her.

[Key clacks]

This is her getting free.

When is this?

TURNER: The same
night you received the call

from Rose Stagg's phone.

ANDERSON: Why did you
break in to the Spector home?

I wanted to feel close to him.

Be near his things.

ANDERSON: Why did
you take this picture?

KATIE: For fun.

ANDERSON: Why are
you wearing that T-shirt?

Also for fun.

ANDERSON: That's
the E-FIT of the killer.

Yes.

Did you have the
T-shirt made yourself?

- Yes.
- Why?

Because it looks
a bit like Paul.

Because it is Paul.

No.

It just looks a bit like him.

It's a joke.

Why were you in
Spector's hotel room?

I was just waiting for him.
Waiting for him to come back.

Did he ask you to go there?

- Yes.
- Why?

So we could go to bed together.

What were you
burning in the sink?

Nothing really.

I was bored. I was
just burning things.

Things?

KATIE: Yes.

Did he ask you to
destroy evidence?

Evidence of what?

There are some additional
tapes you should see.

It's all more complex
than I thought.

Did your husband ever
give you any gifts of jewelry?

Over the years, yes, of course.

Any pieces that you
didn't particularly like

but that he encouraged
you to wear?

I don't think so.

What are you thinking?

He did give Olivia a necklace.

My mother questioned whether
it was appropriate for a child.

Then it just disappeared.

Can you describe it for me?

Large medallion kind of thing.

Red, I think.

EASTWOOD: Is this the necklace?

Yes, I think so.

Who is that?

That is one of the
murder victims, Sally.

Sarah Kay.

You asked if your
husband was arrested

for having sex with a minor.

He was not.

He was arrested initially

for the abduction and false
imprisonment of Rose Stagg.

He was subsequently
further arrested

for a serious sexual assault...

and the murder
of Joseph Brawley.

I'm going to show you a drawing.

Marked Exhibit GM-2.

Can you to tell me
if you recognize it?

JENNINGS: I'm sorry,
but the charges being faced

by my client's husband

should have been disclosed
at the very start of the...

EASTWOOD: Your
client has admitted

to perverting the
course of justice.

She has agreed to
cooperate with us in full.

How is your intervention in
this interview helping her?

I'm bleeding.

JENNINGS: What?

I'm bleeding.

[Keys jingle, door opens]

[Handcuffs click]

GIBSON: We need
to get him to talk.

Just present the
evidence, nothing more.

Make him realize
that his silence is futile.

The evidence overwhelmingly
proves complicity.

Yes, ma'am.

If he speaks,

ask him open questions
and just keep listening.

Yes, ma'am.

This is the continuation of
an interview with Paul Spector.

The time is 10:17.

I must remind you that
you're still under caution.

I am Detective
Constable Gail McNally.

Also present is Detective
Constable David Carvin.

Human-scent dogs
tracked the killer

from the place where
Joe Brawley was murdered

out along the Airport
Road to Conn's Water.

That route, together
with Conn's Water

and sections of the
Musgrave Channel,

have been thoroughly checked.

I'd like you to account for the
presence of your fingerprints

found on a pair of decorating
shears retrieved from the water

that we believe were used in
the commission of the offense,

namely the murder
of Joe Brawley.

We have the scissors
here marked Exhibit GG-12.

Traces of blood found
on the scissors were tested

and found to be a good
match to that of Joe Brawley.

I believe your fingerprints
and traces of Joe's blood

were found on these
scissors because...

[Spector chuckling]

Sending in someone who
looks vaguely like Annie Brawley

is pretty feeble, Stella.

You can do better
than that, surely.

McNALLY: Once again...

I'm asking you to
account for the presence

of your fingerprints on
these scissors, Exhibit GG-12.

ANDERSON: It
seems you've witnessed

Paul Spector's aberrant
sexuality at first hand.

Where did you get that?

ANDERSON: You
obviously know he's the killer.

So why continue to insist he
was with you on these dates

when he was only
with you on this date,

the night Joe Brawley was killed

and then only after
he'd fled the scene?

Only someone with a narrow
mind would call that aberrant.

Katie, there's a great
deal of evidence already

to tie Paul Spector

to the crimes of which
he stands accused.

Your lies are futile.

Why ruin your life?

Because I was asleep before
I met him, and now I'm awake.

Because I see everything
with new eyes now.

We are going to
press charges, Katie.

You will go to jail
for what you're doing,

aiding and abetting a murderer.

You're 16.

It's right you kick against
authority, your mother, me.

But there are other ways of
expressing your dissatisfaction.

I've heard your songs.

You're very talented.

If you wanted to
pursue music in later life,

a criminal record could
stop you from traveling,

to the U.S., for example.

Many other professions
would be closed to you.

You're not listening.

I love him.

I'm not allowed to show you

the crime-scene
pictures that I have here,

but you should have some idea

of the kind of man
you say you love.

That you're protecting.

Fiona Gallagher's
neck was compressed

by the sheer force with
which the ligature was tied

to the point that it measured

just over nine inches
in circumference.

Imagine that.

The anger and the
hatred of women

that would allow someone
to do something like that...

I'm finished.

It will be a matter of
routine police work...

Checking your phone,
your Internet records, CCTV,

witness statements... to
destroy the alibis you've created.

All that remains now
is for you to be charged.

So, before we
finish the interview,

is there anything that you
would like to add, clarify,

or... explain?

You wouldn't understand.

ANDERSON: Sign these tapes.

[Indistinct talking]

[Door opens]

JAMES: Liz!

- Liz!
- WOMAN: Jesus.

JAMES: I want to see my wife!

Oh, God!

- WOMAN: Wait there, Liz.
- Liz.

- WOMAN: Stay there.
- Where's my wife?

- I want to see my wife!
- LIZ: James.

WOMAN: Don't let the kids down.

You're not allowed
to be here. Please go.

Liz. Liz.

WOMAN: Did you hear
me? You have to go.

I can't live without
you. Please!

Why won't you see me?

Talk to me.

You know why.

- Liz, just talk to me, please.
- WOMAN: Stay away. Stay back.

- JAMES: Liz.
- Get away from her.

- The police are on their way.
- Police? Huh?

- [Grunts]
- Leave her alone!

She's my wife, and she's
coming home with me!

- The police are coming.
- Stop it.

You're coming with me. Come on.

- Get your hands off her.
- James, I'm not.

You're coming with me!

- Stop touching her!
- Let her go!

Aah!

Is it him?

- Is it Spector?
- What?

- Is that what this is?
- Get off her!

- WOMAN: Can you stop?
- Is it Spector?

Huh? Is that what it is?

No! It's not him.

It's you.

I know what happened when
he came 'round to our house.

Nothing happened!

Don't lie to me! Don't
fucking lie to me!

[Indistinct shouting]

- Get the fuck out!
- Let her go.

Okay. Okay!

It's true.

I fucked him in Danny's bed.

And he was way better than you!

Is that what you want to hear?

- WOMAN: Stop it!
- WOMAN #2: Watch out!

Get your hands off her!

[Indistinct shouting]

You don't want me anymore?

Huh?

Fine.

WOMAN: Oh, God. Oh, God.

I'll kill the lot of you,
then I'll kill myself.

I'll kill all of you, and
it will all be your fault.

Please just go!

WOMAN: The police are coming.

There are children
here, children upstairs,

boys the same age as our Daniel!

He was my boy, too!

LIZ: Go!

Fuck it.

- Go!
- WOMAN: Just leave her. Go!

- [Door closes]
- Oh, God.

[Gasping, crying]

[Siren wailing]

WOMAN: We've found hairs from
both Spector and from Rose Stagg

in the abandoned building.

The good news is,
there is no evidence

to suggest that
she was killed there.

Some of the wire from the
burnt bras is a good match

to items we know to have been
in possession of Alice Monroe.

There are sufficient
specific references

to dates, times, locations

in the fragments of the journals
that have survived the fire

to be able to state
with some certainty

that the subject being
stalked was Sarah Kay.

GIBSON: How much longer
do you need to finish your work?

WOMAN: We'll let you have
the results as they come in

but at least 48 hours.

TAYLOR: If I said I was
wearing a pink spotty shirt,

would that be
the truth or a lie?

A lie.

TAYLOR: And if
you told your teacher

that something bad
happened to you

but really it didn't happen...
You were making it up...

Would you be telling
the truth or a lie?

I'd be telling a lie.

TAYLOR: You know
you're not in any trouble?

You can leave this room at
any time, go back to Granny.

Okay.

I want to show you
a drawing, Olivia.

Did you draw that?

OLIVIA: No.

TAYLOR: Are you sure?

Yes.

TAYLOR: I'm told your
daddy gave you a necklace?

OLIVIA: Yes, but I lost it.

TAYLOR: What did it look like?

I can't remember.

TAYLOR: Did it
look like... this?

OLIVIA: No.

Did you tell your mummy one time

that you saw a naked
lady in your house?

A naked lady in
the roof, in the loft?

- Did she tell you I said that?
- Yes.

What do you think you saw?

I can't tell you. It's a secret.

It's a secret.

Okay, then I won't
ask you to tell.

What I do need to know, though,

is what you think might
happen if you did tell me.

I don't know.

Daddy would go to prison?

[Door opens]

TAYLOR: Thank you,
love. You did really well.

I'm gonna take a break there.

I think she saw the mannequin.

There's a, uh... A
shop-window mannequin

in the boot of
Spector's burnt-out car.

I think his daughter
must have seen it.

TAYLOR: Okay, well done.

GIBSON: She just
wants to protect him.

She doesn't know what from.

But all her instincts
are telling her

to protect him at all costs.

TAYLOR: Do you
want to go shopping?

[Indistinct talking]

[Handcuffs click]

Come on.

GIBSON: What news on Sally Ann?

BOYD: Still in hospital.

She had a scan this morning

which confirmed the
ultrasound results.

Sac and baby could be
clearly seen, no heartbeat.

Seems it happened
while she was in custody.

There'll be an inquiry.

Are we losing
much in losing her?

I don't think so.

As far as Sally
Ann Spector knew,

her husband was doing volunteer
work for the suicide helpline

on the nights in question.

He went running at night a lot,

but she never thought
that was especially strange.

It seems he never indulged
his sexual perversities with her.

And he was only ever a kind
and apparently loving father.

The truth is, she knows
nothing about him.

So, stupid and
incurious but innocent?

Seems that way.

We only have 12 more
hours with Spector.

Time to move things on.

I'm Detective Chief
Inspector Eastwood.

A vehicle has been
recovered that has provided us

with a great deal of
new forensic evidence.

In light of that...

Paul Spector, I am
further arresting you

for the murders
of Fiona Gallagher,

Alice Monroe, and Sarah Kay.

I must remind you that
you are still under caution.

You do not have to say anything.

But it may harm your defense

if you do not mention
when questioned

something that you
later rely on in court.

Anything you do say
may be given in evidence.

Do you understand?

I'll talk to Stella.

No one else.

Just to her.

Just you, Stella, no one else.

[Knock on door]

I know that this investigation
has placed huge demands on you.

Procedural pressures,
the long hours,

the emotional pressures
of the crimes themselves.

But is it wise to
involve yourself

in the questioning of this man?

He asked for me.

I don't think I have a choice.

It's a departure
from normal practice.

I know.

For which we will both
be held accountable.

As I said, I don't
think I have a choice.

He knows things about
you from your diary

which he can and
will use against you.

I know.

I've been face-to-face
with pure evil, Stella.

Jensen.

Spector is cut
from the same cloth.

He's not a human
being, he's a monster.

Stop, Jim, please.

- Just stop.
- What?

You can see the world
in that way if you want.

You know it makes
no sense to me.

Men like Spector are all too
human, too understandable.

He's not a monster,
he's just a man.

I'm a man.

I hope to God I'm
nothing like him.

No, you're not.

But you still came to
my hotel room uninvited

and mounted some kind
of drunken attack on me.

It wasn't an attack.

That's unfair.

I was...

I just wanted...

What did you want?

I don't know.

To fuck me.

Nail me, bang me, screw me?

I wouldn't use those
words about you.

I was saying no, Jim.

Quite clearly.

You ignored me and carried on.

It's not the same.

No, it's not the same.

But you still crossed the line.

LARKIN: Ma'am.

The DNA extracted
from the lock of hair

found in Spector's possessions

doesn't match
any of the victims.

It is, in fact, a familial
match to Spector himself.

His mother, perhaps?

Certainly the photograph appears
to be his mother, Mary Garrison.

[Mouse clicking]

When did all this begin
for you, do you think?

All this?

Take me back to the beginning.

To your childhood, your family.

Why?

GIBSON: You have a lock
of hair in your possession.

Is that your mother's?

And a photograph.

Is that of her?

She must have meant
a great deal to you

if you've managed to keep
them in your possession

through all those years of
care, of juvenile incarceration.

Everyone's mother
means a great deal to them.

Not everyone's
mother commits suicide.

That must have left
you feeling very angry.

Abandoned, alone.

I hadn't expected to
hear mother-blaming

from you of all people.

But you were a lonely child?

And you weren't?

All children are lonely.

We've spoken to Father Jensen.

Do you remember Father Jensen?

He remembers you
as a child in care.

He has an
interesting story to tell.

He says that you threatened him.

Threatened his eyesight
if he laid a finger on you.

He told you that?

He used to take us camping.

Then every night when
it came to bedtime,

there was always
the same discovery.

We were one sleeping bag short.

The chosen boy was encouraged
to share with Father Jensen.

I never threatened
him or anyone else.

I simply didn't wash.

Ever.

I was repulsive.

That's how I escaped
his attentions.

I was never invited to
share his sleeping bag.

I was sent away instead.

To the South?

Yes.

What age were you

when you started the
breaking and entering?

The fetish theft?

12 maybe.

And were your fantasies
always sexual in nature?

Aren't everyone's?

When did the sexual impulse

become fused with
violence for you?

[Scoffs]

You sound a little out
of your depth, Stella.

Do I?

I think you're struggling
to understand things

that are way outside
your experience.

Enlighten me.

You're a very
self-aware person, Stella.

You spend a lot of
time observing yourself.

You have sex in the head.

I doubt you've ever fully
given yourself to anyone.

I doubt you ever
truly lose yourself.

And you have?

The thoughts, the
feelings that I experience

are way beyond anything
that you could call fantasies.

Sounds and colors
are more vivid,

odors more intense.

My skin becomes sensitive to
even the slightest of pressure.

The outside world means nothing.

Only the interior world is real.

It is utterly
compelling, compulsive.

Nothing can pull you
back from the edge.

Not laws or threats
of punishment,

morality, religion,
fear of death.

All of those things
are as meaningless

as the life that you
are about to extinguish.

When was your first attack?

Did it all start with Rose?

Are there other victims
that we don't know about?

Victims before Fiona Gallagher?

No.

Fiona Gallagher was the first.

The first person you murdered?

Yes.

GIBSON: You admit to
violent sexual fantasies

from the age of 12.

How did you resist
acting on those fantasies

until the age of 30?

What sustained you?

I always had a project
to occupy myself.

GIBSON: Project?

A woman... to study.

Did you break in
to their houses?

Yes.

GIBSON: Steal
their undergarments?

Yes.

Attack them?

No.

GIBSON: Why not?

I was...

I had children.

You still have children.

Small children.

You're a barren spinster,
so you wouldn't know,

but small children
take up all your time.

Tell me about the first time.

What was it like?

It made me sick.

The smell disgusted me.

The first was the worst
and hardest to get over.

But a switch had been
flicked, a line crossed.

Something was done
that couldn't be undone.

Something that separates
you from the common herd.

I was ill for four days after.

You're in a state
of existential shock.

But then you find
yourself unchallenged

by divine and secular power.

Okay.

So why not do it
again but better?

Alice Monroe?

Yes.

Tell me about Alice Monroe.

With Alice, I took
her to another place.

I spent time with her after.

Washed her, dried her, put her
back to bed, photographed her.

An elevated
aestheticism, if you like.

Treating her like a
doll, like a mannequin.

Tell me, do you speak to them?

To the women that
you torture and kill?

No.

Do they die slowly?

Yes.

Loosening and tightening
your grip around their throat?

Keeping them suspended
between life and death?

Yes.

GIBSON: Binding them first?

Yes.

GIBSON: How long
do you torture them?

Do you inflict sexual
acts upon them?

I'm not a rapist.

You violate them.

You're a rapist.

I perform no overt
sexual acts on my victims.

You're driven by
sexual fantasies.

And you act out with force.

Tell me about these
rituals that you perform.

About the washing and
drying, painting of the nails,

the putting back to bed.

What is there to tell?

Do you take and keep souvenirs?

What do you think?

I think a lock of hair.

And you don't just
photograph them.

You also film them, acting
as your own pornographer.

Tell me, how does
it feel afterwards?

Renewed.

Guilt?

Shame?

Remorse? Fear?

You must feel fear.

So, tell me, did Sarah Kay
represent perfection to you?

Perfection?

Aesthetically?

Maybe.

But she was pregnant.

You wrote that you feel
protective towards children.

Why do children have
protective status in your world

when someone like
Sarah Kay doesn't?

Where does your sentimental
view on childhood come from?

How does it accord with
the truth of your own?

A tale of abandonment and abuse.

Who is Big Foot Chester?

What?

You created a video messaging
account under that name

and with one contact.

Katrina Benedetto.

I was wondering what
that name denotes.

She's just 16.

A child, surely.

And yet you performed a
sex act on yourself for her.

She recorded it.

What could you possibly
gain from corrupting her?

And how is that being
protective of children?

What did Sarah Kay ever do
to make her a potential victim

when, say, Olivia is not?

She's my daughter.

All of your victims
are daughters.

Where did your hatred
of women come from?

I don't hate women.

I hate everyone and
everything, including myself.

Olivia?

Once a man has achieved
contempt for himself,

he achieves contempt for all
man-made laws and moralities

and is truly free
to do as he wills.

You're under arrest.

You're going to prison.

In what sense are you free?

I live at a level of
intensity unknown to you

and others of your type.

You will never know the
almost god-like power that I feel

when that last bit of
breath leaves a body.

That feeling of
complete possession.

Yes, you felt empowered,
invincible even.

But you're under arrest.

Maybe you did
possess your victims.

But you couldn't keep them,

and now they're
gone, and you're alone.

Fuck you.

It's an addiction
like every other.

It's an addiction
that needs to be fed.

It's an addiction
that enslaves you.

How is that different from
the many varied compulsions

that drive you?

Your obsession with your father?

His looks, his eyes, his
voice, his skin, his smell.

Are you sure that way back

beyond your ability
to truly remember...

Are you sure that he
didn't possess you?

Little Stella in the
night, make you his?

It reads that way to me.

If he didn't, you sure
as hell wanted him to.

The Sarah Kay kill was tainted,

so you moved
against Annie Brawley.

Moved way too soon.

And you got
yourself into a fight.

I think that's called
changing the subject.

Maybe.

SPECTOR: You
couldn't call it a fight.

It was more of a mismatch.

He came into the room... I
was strangling his sister...

Armed with a
heavy piece of wood.

The best he could muster
was a blow across the back.

What kind of
bourgeois nonsense...

The influence of
parents, teachers,

the church, police officers...

Contrives to make you incapable
of crushing another man's skull

even to save your sister?

In that moment,
his squeamishness,

whatever the fuck, in that
moment, he sealed his fate,

and he should have sealed hers.

A miserable worm
bleating, "Annie, Annie."

He deserved to die choking
in a pool of his own blood.

Piece of shit.

Don't pretend that
you care about him.

You listed the victims
to me on the phone.

"For Fiona Gallagher,
Alice Monroe, Sarah Kay,

I don't let you."

No mention of Joe.

What's one more man
to you, more or less?

Let men perish.

Who gives a fuck?

Where's Rose?

You can take and 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?!

[Sobbing]

Why the fuck are
you watching this?

You sick shit?

What the fuck is wrong with you?

GIBSON: Who were you talking to?

Yourself?

Me?

The people who like to
read and watch programs

about people like you?

Who?

Where is she?

Is she dead?

Tell me.

Where is Rose?

We're done here.

You've got everything
you need from me.

But be aware, it's
not over between us.

In fact, it's just begun.

[Door opens]

[Door closes]

[Buzzer]

Seems we've got him.

Well done.

ANDERSON: Paul
Spector, you are charged

that on the 10th day
of December 2011,

in the County Court
Division of Belfast,

you did murder Fiona Gallagher
contrary to Common Law.

That you on the 15th
day of March 2012,

in the County Court
Division of Belfast,

did murder Alice Parker
Monroe contrary to Common Law.

That you on the
16th day of April 2012,

in the County Court
Division of Belfast,

did murder Sarah Kay
contrary to Common Law.

That you on the
20th day of April 2012,

in the County Court
Division of Belfast,

did murder Joseph Brawley
contrary to Common Law.

That you on the
20th day of April 2012,

in the County Court
Division of Belfast,

attempted to murder Ann
Brawley contrary to Common Law.

That you on the
3rd day of May 2012,

in the County Court
Division of Belfast,

unlawfully and injuriously
imprisoned Rose Stagg

and detained Rose Stagg against
her will contrary to Common Law.

Do you want to reply
to any of the charges?

DAISY: When do you
have to go to court again?

In July.

Are you still going
to sit your exams?

If the school will let me.

[Pencil scratching]

There's so much
about him in the papers.

I know.

Did he do it?

Oh, yes.

[Pen scratching]

Are you all right?

You said a strange thing.

When?

When you first asked me
to interview Katie Benedetto.

You suggested I
was like Spector.

What did you mean by that?

I meant what I said.

Similar age, similar looks.

Not anything more?

Like?

Something deeper.

Deeper in his nature that you
see reflected in me somehow.

So, you remind me of Spector.

I fuck you, therefore
I fuck Spector?

Is that where this is going?

It's a thought.

Well...

A repellent one.

Would it be so odd?

There's something
fascinating about him.

A strange allure.

A woman... I forget who...

Once asked a male friend why
men felt threatened by women.

He replied that they were afraid
that women might laugh at them.

When she asked a group of women

why women felt
threatened by men,

they said, "We're
afraid they might kill us."

He might fascinate you.

I despise him with
every fiber of my being.

[Cellphone ringing]

I need to take this.

Gibson.

EASTWOOD: It's Eastwood, ma'am.

GIBSON: Go ahead.

EASTWOOD: Spector
has come up with an offer.

Get dressed.

Go on.

Are we any clearer on
whether it's Rose Stagg

or Rose Stagg's remains?

He's said nothing about that.
He's just given us a location.

It's forest beyond where
Rose's phone was last used

up beyond the
quarry, beyond the lair.

Excuse me. Sorry.

Gibson.

SALLY ANN: It's
Sally Ann Spector.

I've thought about
it. I'll bring her in.

I'll send a car for
you right away.

Thank you.

Thank you.

We're on.

We have to be discreet
about moving him out of here.

Anderson to escort Spector
with me in one vehicle.

Two other cars,
Ferrington and her partner,

Hagstrom and Mitchell.

Get Ged Green to
meet us in the forest

with TSGs and a medical backup.

We'll need a
helicopter in the air.

What about Spector's
court appearance?

- Change it.
- Okay.

I'll get the
transport organized.

Isn't it just another
power play?

Another attempt to
control and dominate?

Yes, but we don't have a choice.

Even if it's a wild-goose chase?

You know what
I've asked you to do.

Just get on with it.

Yes, ma'am.

GIBSON: This is
the room we'll be in.

Have a seat there, Olivia.

OLIVIA: Hello, Daddy.

Hello, darling.

Thanks for coming to see me.

It's okay.

You look funny in those clothes.

These are just work clothes.

Oh, okay.

How's Liam?

Annoying.

Mummy's been ill.

I know.

There's something I want to
say to you, something important.

Watching you grow up

has been the best thing
that ever happened to me.

I'm sorry for all the times
that you needed a cuddle

and I wasn't there.

I'm sorry that the projects in
my life took up so much time.

I should have cherished
every moment with you.

I've heard you say that you want
to be a doctor and a pizza maker

and a pilot and a
princess when you grow up.

I just hope that one
day, despite everything,

that you can be happy.

When are you coming home?

Not for a while.

I've got work to do here.

Do you work for her?

Sort of.

And we have work to do.

It's time for Olivia to go.

SPECTOR: I love you, Little One.

I love you best in the
whole wide world, Daddy.

Thank you.

Simon, I want to move the
people carrier in between you two,

so if you can pull
forward 30 feet for me?

[Engine turns over]

Johnny, take the people carrier

in between the two
squad cars, please.

[Vehicle door closes,
engine turns over]

[Handcuffs clicking]

Are you sure he's
the right choice?

- Who?
- Anderson.

Wouldn't someone
like Martin be better?

Sheer physical presence.

Anderson arrested Spector,

interviewed him
first about Rose.

He deserves this.

Trust me, he's strong enough.

[Engine turns over]

[Beeping]

[Engine turns over]

[Cellphone ringing]

Callan.

Spector's on the move.

[Beep]

It's me. Do you
still have my car?

[Vehicle approaches]

JAMES: What's happening?

Spector's being moved.

Moved where?

Well, not moved.

He's... He's taking
the police somewhere.

I-I don't know. I just
need to get there.

What was he arrested for?

Jimmy, please,
I don't have time.

Where are they going?

Slieve Dove.

The forest?

I actually... I don't really
know any more than that.

Get in.

What?

I'm driving!

Jimmy...

Don't Jimmy me,
you piece of shit.

If you want to go, get in.

I'm driving.

Where now?

Keep on this road.
Another half mile.

[Beep]

MAN: From Convoy
2. All units, stand by.

From TSG 1.

Support vehicles in
position at rendezvous point.

SPECTOR: There's
a track on the left.

Take that track.

MAN: From Convoy 2.

All units, take track on left.

Just up here, there's
a stopping point.

All the vehicles
should pull over.

[Handcuffs click]

In there.

Can you tell me
what I'm going to find?

In there, 200 yards or so.

Take that track.
Lead the ambulance.

I'm going in. Keep pace with me.

Keep everyone
else out of the forest.

There's no sense in
contaminating a crime scene.

Yes, ma'am.

[Police radio chatter]

There's nothing here.

There's no sign of Rose.

Tell her to keep going.

Go deeper, Stella.

Prisoner says to
keep going, ma'am.

[Camera shutter clicks]

There's clearly something
going on between you.

What?

You and the fragrant Stella.

Is that right?

Let me give you some advice.

If you haven't
done it yet, don't.

I have tasted both the
fantasy and the deed.

The fantasy is way more piquant.

Rose's car is here.

I repeat, Rose's car is here.

I'm going to take a look.

Roger, copy that.

Ged, we need a crowbar.

GREEN: Understood. On my way.

[Camera shutter clicks]

Here, ma'am.

GIBSON: Jesus.

I don't feel a pulse.

There's no rigor.

GREEN: It could
have passed by now.

She's chilled, Ged,
but she's not stone-cold.

Jesus Christ, she's alive.

She's alive.

Unexpected.

GIBSON: Get the
medics up here now.

MAN: There's another individual
on the edge of the woods.

Uh, someone we
can't account for.

They are directly north from
the parked police vehicles.

Directly north.

Get one of the uniforms
to check that out.

JACKSON: Control to Alpha
Papa 5. Come in, please.

Alpha Papa 5.

JACKSON: Movement
on the ground detected.

Due north of your
position. Please investigate.

Alpha Papa Five
received and understood.

MAN: Taking this?

Don't lose her.
Please don't lose her.

Looks like he left her water.

Food even.

Jesus Christ. Can you imagine?

Cordon off the area, Ged.

Yes, ma'am.

[Vehicle approaches]

[Siren chirps]

Drop what you're holding and
put your hands behind your head!

Have you seen this, ma'am?

GIBSON: Good God.

[Gunshots]

We need an ambulance!

Shit!

Don't move. Stay still.

I need something
to tamp the blood.

We need help!

Can nothing land?

We've got three men down here.
We need urgent medical backup.

MAN: I can't land. The
trees are too dense.

Repeat, I can't land.

- Jesus Christ.
- MAN: The trees are too dense.

GREEN: Get a
medical kit up here now.

Go, go, go, go go!

Oh.

Oh, we're losing him.

We're losing him!