The Fall
Ep. 6 - What is in Me Dark Illumine
Season 2 Episode 6 | 1h 28m 53sVideo has Closed Captions
Several people try to interrogate Spector, who refuses to talk to anyone but Stella.
Several people try to interrogate Spector, who refuses to talk to anyone but Stella. Gibson gets Spector to confess all the crimes he has committed, but not to tell her whether or not he has killed Rose, nor where she or her body is hidden. Spector agrees to take Gibson to a place in the woods in exchange for seeing his daughter.
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The Fall is presented by your local public television station.
The Fall
Ep. 6 - What is in Me Dark Illumine
Season 2 Episode 6 | 1h 28m 53sVideo has Closed Captions
Several people try to interrogate Spector, who refuses to talk to anyone but Stella. Gibson gets Spector to confess all the crimes he has committed, but not to tell her whether or not he has killed Rose, nor where she or her body is hidden. Spector agrees to take Gibson to a place in the woods in exchange for seeing his daughter.
Problems playing video? | Closed Captioning Feedback
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(tense music) - Get off me!
- Stop!
Just stop moving!
- Alpha Papa 1-2 to Uniform.
We have the Benedetto girl.
- Where's my wife?
- Don't know what you mean.
(guns firing) - 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.
- [Stella] No sign of Rose Stagg's car?
- [Man] No, ma'am.
- [Stella] We need to find that car.
- 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?
(shouting) Do you know that?
- What is your explanation for those files being found on your phone?
(car rumbling) (car door slams) - Detective Superintendent Gibson.
Thank you.
- [Man] Is somebody picking that up over there?
(police radio chattering) - Hey, Ged.
- Seems the car was set on fire deliberately, ma'am.
- [Stella] Is it definitely Spector's?
- [Ged] Yes, ma'am.
- It looks like the car exploded with the stuff scattered far and wide.
(camera snaps) - [Stella] Was it extinguished?
- Burnt 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.
(camera snapping nearby) - [Ged] There.
- Have we checked this building yet?
- [Ged] Not yet, ma'am.
(camera snapping nearby) (birds calling) (car doors slamming) - Those look like Rose Stagg's tires to you?
- Could well be.
(car door slams) Oh, we should wait for my team to arrive, ma'am.
- She could be in there.
(birds calling) New padlock.
Fetch the bolt cutters.
(birds calling) (lock snapping) (tense music) (door creaking) (tense music) - I feel sorry for you.
I really do.
- [Ged] Ma'am?
- You must have had a terrible childhood to be able to do this to me.
I feel sorry for you.
(tense music) - No one here.
(tense music) (voices speaking nearby) 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?
(shackle clatters) (gulls cawing) (mobile 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-- (mobile bleeps off) (tense music) (phone shattering) (bolt cutters thud) (doors slam) - The Benedetto girl is still refusing to see her mother.
An appropriate adult should be here by nine.
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.
- 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.
We also believe that he is responsible for a number of other recent murders.
(Tom shudders) - So... Really, you're telling... You're telling me 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?
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.
- [Man] When was this?
- Yesterday afternoon.
- How are you spelling that surname?
- I don't know, Spector.
I don't know how you spell it.
(line ringing) - [Man] Yeah?
- It's Ned.
Who d'you have in custody at the moment?
- [Man] Why?
- It's just a story I'm working on.
- [Man] D'you have any ideas?
- I'm thinking Sally-Ann Spector.
- [Man] Go on.
- Paul Spector.
- That's right.
- Is there much excitement surrounding that arrest?
Paul Spector?
- [Officer] Very much so.
- Jimmy?
What are you doing here, man?
There's police everywhere.
- What's happening?
- There've 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.
(tense music) - Jimmy, please.
Jimmy, not my phone.
My whole life's in that phone.
(car door slams) (motor revs) (car rumbles away) - Ma'am.
We have the downloads from Katie's phone now.
There's something you should see.
- [Katie] What are you wearing?
- [Paul] Nothing.
- [Katie] Prove it.
(knocking at door) - You wanted to see me?
- I thought that Katie's diaries were a complete fabrication with her alibis for Spector and detailed sexual encounters.
A schoolgirl fantasy.
Then this shows up on her phone.
(shuddering breaths on video) 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 in the same gender?
- Yes, probably.
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.
(telephone ringing nearby) (door bangs shut) (light clicks) - 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.
- Well, 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 his 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.
I put my hand on the outside of his trousers.
And that was as far as it went that first time.
(knocking at door) We waited a few minutes and went back downstairs.
- Ma'am.
There's more.
- [Anderson] And this is when you were 14?
(light clicks off) - 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.
He tied her up, then he left her.
(tense music) This is her getting free.
- (quietly) Oh.
When is this?
- The same night you received a call from Rose Stagg's phone.
- [Anderson] Why did you break into the Spector home?
- I wanted to feel close to him, be near his things.
(papers rustling) - [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?
- Yes.
- Did he ask you to destroy evidence?
- Evidence of what?
(knocking on door) - 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 GM2.
Can you tell me if you recognize it?
- [Lawyer] I'm sorry, but the charges being faced by my client's husband should have been disclosed at the very start-- - [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.
- [Lawyer] What?
- I'm bleeding.
(keys jangling) (door creaks) (handcuffs click) - 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.
(door slams) 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'm Detective Constable Gail McNally.
Also present is Detective Constable David Garvin.
Human scent dogs tracked the killer from the place where Joe Brawley was murdered out along the airport road to Connswater.
That route, together with Connswater 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-- (Paul laughing) - Oh... Sending in someone who looks vaguely like Annie Brawley is pretty feeble, Stella.
You can do better than that, surely.
- Once again, I'm asking you to account for the presence of your fingerprints on these scissors, Exhibit GG-12.
- [Anderson] Seems you've witnessed Paul Spector's aberrant sexuality at first hand.
- Where did you get that?
- 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'll 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.
(tense music) - [Anderson] Sign these tapes.
(tense music) - There we go.
(tense music) (door crashes) - [Jimmy] Liz!
Liz!
- [Woman] Jesus.
- [Jimmy] I want to see my wife!
- [Woman] Liz.
- Oh, God!
- [Woman] Wait there, Liz, wait.
- Liz!
- [Woman] Stay there.
- Where's my wife?
I want to see my wife!
- [Liz] James.
- [Woman] Zoe, 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!
- [Woman] Liz, stay with me.
- Why won't you see me?
Talk to me!
- You know why.
- [Woman] Stay away.
- Liz, just talk to me, please.
- [Woman] Stay back!
- [Jimmy] Liz-- - Get away from her.
The police are on their way.
- Police, huh?
(woman shouts) - Leave her alone!
- She's my wife and she's coming home with me!
- The police are coming.
- Stop it!
- I'm all right, I'm all right.
- You're coming with me.
Come on.
- [Woman] Calm down.
- [Woman] Get him out of here.
- Get your hands off her.
- James, I'm not!
- You're coming with me!
- Get your hands off her!
Let her go!
Oh!
- Is it him?
Is it Spector?
- What?
- Is that what this is?
- Get out of here!
(blow lands) - Is it Spector?
- Can you stop touching me!
- 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!
- Get off!
- Don't lie to me!
- Get off her!
Get-- Get out, guy!
- [Woman] Let her go!
- Leave me alone!
Okay, okay!
It's true.
In Danny's bed.
And he was way better than you!
Is that what you want to hear?
- [Woman] Stop it!
- [Woman] Oh, watch her!
- [Woman] Get your hands off!
(all clamoring) (vase shatters) - You don't want me anymore?
Huh?
Fine.
(all shouting) - [Woman] Oh, God, oh, God!
- I'll kill the lot of you!
Then I'll kill myself!
- [Woman] Jesus Christ!
- I'll kill all of you and it'll all be your fault!
(women shouting) - Don't do this.
Please just go.
- [Woman] The police are coming!
(siren wailing in distance) - There are children here.
Children upstairs!
Boys the same age as our Daniel!
- He was my boy, too!
- Go!
Go!
- [Woman] Oh, God, Jesus... (Liz sobbing) (sirens wailing nearby) - [Forensic Officer] We have 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.
- [Stella] How much longer do you need to finish your work?
- [Forensic Officer] We'll let you have the results as they come in, but at least 48 hours.
(tense music) - If I said I was wearing a pink spotty shirt, would that be the truth or a lie?
- A lie.
- [Woman] 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.
- 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?
- No.
- [Woman] Are you sure?
- Yes.
- [Woman] I'm told your daddy gave you a necklace.
- [Olivia] Yes.
But I lost it.
- [Woman] What did it look like?
- I can't remember.
- [Woman] Did it look like this?
- No.
(tense music) - 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 creaks open) - [Woman] Thank you, luv, you did really well.
Gonna take a break there.
- I think she saw the mannequin.
There's a, er, a shop window mannequin in the boot of Spector's burnt-out car.
I think his daughter must have seen it.
- [Woman] Okay, well done.
- 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.
- [Woman] So you want to go shopping?
(handcuffs click) (door slams) - Go on.
- [Stella] What news on Sally-Ann?
- 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?
- It seems that way.
- We only have 12 more hours with Spector.
- Time to move things on.
(door thuds) - 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.
(knocking 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.
- 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.
- 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.
(tense music) (door slams) (tense music) (door slams) (tense music) (door slams) (tense music) (mouse clicks) (tense music) - When did all this begin for you, do you think?
- All this?
- Take me back to the beginning.
To your childhood, your family.
- Why?
- You have a lock of hair in your possession.
Is that your mother's?
And the 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, 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?
(Paul sighs) He used to take us camping.
Then every night when it came to bedtime, there was always the same discovery.
We were one sleeping bad 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 become 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're 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.
- 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.
- Project?
- A woman.
To study.
- Did you break into their houses?
- Yes.
- Steal their undergarments?
- Yes.
- Attack them?
- No.
- 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 it 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.
- [Stella] Binding them first?
- Yes.
- 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 are driven by sexual fantasies.
And you act out with force.
(Paul sighs) Tell me about these rituals that you perform.
Not the washing and drying, the 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's 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 Bigfoot 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 other 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.
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 and 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.
- 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, he sealed his fate.
And he should've sealed hers.
A miserable worm, bleating, "Annie, Annie!"
He deserved to die choking in a pool of his own blood.
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.
- Where's Rose?
- You think you 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?
(shouting) Do you know that?
(crying) (tense music) - Why are you watching this?
What is wrong with you?
- 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 got everything you need from me.
But be aware, it's not over between us.
In fact, it's just begun.
(tense music) (door thuds shut) (keypad buzzes) (door thuds) - It seems we've got him.
Well done.
(tense music) - 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 Anne 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?
(tense music) - [Daisy] When do you have to go to court again?
- In July.
- Are you still gonna sit your exams?
- If the school will let me.
- [Daisy] There's so much about him in the papers.
- I know.
- Did he do it?
- Oh, yes.
(dramatic music) - 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'd 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.
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.
(mobile ringing) I need to take this.
Gibson.
- [Eastwood] It's Eastwood, ma'am.
- Go ahead.
- [Eastwood] Spector has come up with an offer.
- Get dressed.
Go on.
(car rumbling) 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, out beyond the quarry, beyond the lair.
(mobile ringing) - 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.
(car door slams) Get Ged Green to meet us in the forest with TSGs and a medical backup.
We'll need a, er, 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.
- This is the room we'll be in.
Just 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.
- [Paul] I love you, little one.
- I love you best in the whole wide world, Daddy.
(door creaks) (door thuds shut) (tense music) - [Stella] Thank you.
(tense music) - Simon, I want to move the people carrier in between you two, so if you could pull forward 30 feet.
(motor revs) Johnny, take the people carrier in between the two squad cars, please.
(tense music) (motor revs) (tense music) (handcuffs click) (tense music) (door thuds shut) (tense music) (car door slams) - You sure he's the right choice?
- Who?
- Anderson.
Wouldn't someone like Martin be better?
The sheer physical presence.
- Anderson arrested Spector, interviewed him first about Rose.
He deserves this.
Trust me.
He's strong enough.
(motor revving) (gate rattling) (tense music) (mobile ringing) - Callan.
- Spector's on the move.
(tense music) - It's me.
Do you still have my car?
(tense music) - [Jimmy] What's happening?
- Spector's being moved.
- Moved where?
- Well, not moved, he's taking the police somewhere.
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?
- Sliabh Dubh.
- 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 (muted).
If you want to go, get in.
I'm driving.
(tense music) (car roaring away) (tense music) - Where now?
- Keep on this road.
Another half mile.
(radio chirps) - [Anderson] From Convoy-2, all units stand by.
- [TSG-1] From TSG-1, support vehicles in position at rendezvous point.
(suspenseful music) - There's a track on the left.
Take that track.
- [Anderson] Convoy-2.
All units take track on left.
(suspenseful music) - Just up here there's a stopping point.
All the vehicles should pull over.
(suspenseful music) (motor running idly) (tense music) In there.
- Can you tell me what I'm going to find?
(handcuff clicks) - In there.
200 yards or so.
(vehicles rumbling) - Take that track.
Lead the ambulance.
I'm going in, keep pace with me and keep everyone else out of the forest.
There's no sense in contaminating a crime scene.
- Yes, ma'am.
(vehicles rumbling) (helicopter chuffing) (birds chirping) (tense music) (helicopter chuffing) (birds chirping) (vehicles rumbling) (birds chirping) (leaves rustling in breeze) (birds chirping) - 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.
(birds chirping) (camera snaps) (helicopter chuffing nearby) - 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.
(tense music) - Ged, we need a crowbar.
- Understood.
On my way.
(tense music) (camera snapping) Here, ma'am.
- Thank you.
(tense music) Jesus.
(tense music) I don't feel a pulse.
There's no rigor.
- [Ged] That could have passed by now.
- She's chilled, Ged, but she's not stone cold.
(Rose gasps) She's alive.
She's alive!
- Unexpected.
- [Stella] Get the medics up here now.
(helicopter chuffing above) - [Pilot] There's another individual on the edge of the woods.
Someone we can't account for.
They're directly north from the parked police vehicles.
Directly north.
- Get one of the uniforms to check that out.
- [Control] Control to Alpha Papa-5, come in, please.
- Alpha Papa-5.
- [Control] Movement on the ground detected due north of your position.
Please investigate.
- Alpha Papa-5 received and understood.
(car door slams) (motor revs) - [Man] Right, guys.
And lift.
- Don't lose her.
Please, don't lose her.
Looks like he left her water.
Food, even.
- Jesus, can you imagine?
- Cordon off the area, Ged.
- Yes, ma'am.
(helicopter chuffing above) (motor rumbling) (siren blaring) - [Ferrington] Drop what you're holding and put your hands behind your head!
(helicopter chuffing above) - Have you seen this, ma'am?
(tense music) - Good God.
(tense music) (helicopter chuffing above) (tense music) (gun firing) (guns firing) (tense music) We need an ambulance!
- Okay, don't move.
Stay till.
- I need something to tamp the blood!
(helicopter chuffing above) (Anderson groans) (helicopter chuffing above) We need help!
Can that thing land?
- We've got three men down here.
We need urgent medical backup.
- [Pilot] I can't land.
The trees are too dense.
Repeat, I can't land.
- Jesus... - [Ged] Get a medical setup here now!
Go, go, go, go, go!
(helicopter chuffing) - Oh, we're losing him.
We're losing him!
Oh... (helicopter chuffing) (dramatic music)
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