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- This is a human bone. Where did you get this? - It's not about me. It's my mum. | 0:00:02 | 0:00:05 | |
They came from Arnold Mears. | 0:00:05 | 0:00:07 | |
- I thought he was in prison. - He is. | 0:00:07 | 0:00:09 | |
You know why you're here, Annie? | 0:00:11 | 0:00:12 | |
He said there were more bodies than the three he'd been tried for | 0:00:12 | 0:00:17 | |
and he wanted to tell me where they were. | 0:00:17 | 0:00:18 | |
NIKKI: And you never told the police? | 0:00:18 | 0:00:21 | |
Helen Karamides has been accused | 0:00:21 | 0:00:22 | |
of retaining tissue samples from dead infants. | 0:00:22 | 0:00:25 | |
I've brought you something. | 0:00:25 | 0:00:27 | |
It's some research. I'd like your opinion on it. | 0:00:27 | 0:00:30 | |
MEARS: You take such an interest in me, Doctor. | 0:00:30 | 0:00:33 | |
Is that professional? Or personal? | 0:00:33 | 0:00:37 | |
# Testat ore silence | 0:00:40 | 0:00:48 | |
# Vos teste se spiritu | 0:00:48 | 0:00:55 | |
# Silencio... # | 0:00:55 | 0:01:02 | |
CAMERA CLICKING | 0:01:09 | 0:01:11 | |
Who the hell is that? | 0:01:24 | 0:01:26 | |
- NIKKI: You took your time. - HARRY: Yeah. | 0:01:35 | 0:01:37 | |
I tend to be a bit busy at 5.30 am. | 0:01:37 | 0:01:40 | |
What's the, er...plumber's mate still doing here? | 0:01:40 | 0:01:43 | |
Long story. | 0:01:43 | 0:01:44 | |
HARRY: Right, so this plumber's guy collects body parts? | 0:01:53 | 0:01:56 | |
NIKKI: His mother does. | 0:01:56 | 0:01:57 | |
Sorry, obviously, no, the plumber guy mother collects body parts. | 0:01:57 | 0:01:59 | |
Annie Farmer was Arnold Mears's appropriate adult. | 0:01:59 | 0:02:03 | |
Arnold Mears? I thought appropriate adults were for juveniles with absent parents. | 0:02:03 | 0:02:07 | |
Well, apparently under the Mental Health Act, it's standard procedure. | 0:02:07 | 0:02:11 | |
When the police arrested Mears, he was obviously disturbed | 0:02:11 | 0:02:14 | |
and someone classified him as vulnerable. | 0:02:14 | 0:02:16 | |
Vulnerable? | 0:02:16 | 0:02:18 | |
HARRY: So, what do you think you've got here? | 0:02:18 | 0:02:20 | |
NIKKI: I've only just started examining them, but four individuals. | 0:02:20 | 0:02:22 | |
Approximately 15 bones each. | 0:02:22 | 0:02:25 | |
And Mears went down for how many? | 0:02:25 | 0:02:26 | |
Three counts of murder. All women under 20. | 0:02:26 | 0:02:29 | |
Right, so these four making seven? | 0:02:29 | 0:02:31 | |
- 12. - 12. | 0:02:31 | 0:02:33 | |
Mears told Annie that he's killed 12 girls altogether. | 0:02:33 | 0:02:36 | |
And you believe him and her, for that matter? | 0:02:36 | 0:02:39 | |
I don't know. But it's worth finding out more, isn't it? | 0:02:39 | 0:02:42 | |
I can send samples for DNA comparison with the missing persons database. | 0:02:42 | 0:02:46 | |
- This is police business. - I know. | 0:02:46 | 0:02:47 | |
But Annie says that if we get the police involved, then Mears will stop talking | 0:02:47 | 0:02:52 | |
and we'll never know the final figure. | 0:02:52 | 0:02:54 | |
Apparently, he calls these hand bones his souvenirs. | 0:02:54 | 0:02:57 | |
Then when she's collected all of them, he'll tell her where the rest of the bodies are. | 0:02:57 | 0:03:02 | |
Right. | 0:03:02 | 0:03:03 | |
She's been digging up these bones for five years, Harry. | 0:03:03 | 0:03:06 | |
So, the idea is that... | 0:03:06 | 0:03:08 | |
once she's collected a kind of full house in this game of finger bingo, | 0:03:08 | 0:03:12 | |
then he will come clean | 0:03:12 | 0:03:13 | |
and reveal the whereabouts of the rest of these bodies? | 0:03:13 | 0:03:16 | |
Come on. He's just playing a game with her, isn't he? | 0:03:16 | 0:03:18 | |
Maybe you're right. | 0:03:18 | 0:03:20 | |
But if you won't help, he will destroy my mum. | 0:03:23 | 0:03:26 | |
PHONE RINGS | 0:03:26 | 0:03:28 | |
Hello? | 0:03:29 | 0:03:30 | |
What? | 0:03:32 | 0:03:33 | |
When? | 0:03:34 | 0:03:36 | |
MAN TALKING ON POLICE RADIO | 0:03:36 | 0:03:39 | |
She came to see me last night. | 0:03:55 | 0:03:58 | |
I didn't think she... | 0:04:00 | 0:04:02 | |
What happened? | 0:04:02 | 0:04:04 | |
Er...nothing really. We talked. | 0:04:06 | 0:04:08 | |
She was angry. | 0:04:10 | 0:04:11 | |
At me, I thought. | 0:04:11 | 0:04:14 | |
She gave me a package containing some research material. | 0:04:15 | 0:04:19 | |
I didn't open it. | 0:04:20 | 0:04:23 | |
What was she looking at on the computer? | 0:04:32 | 0:04:35 | |
SHE GASPS | 0:04:38 | 0:04:39 | |
Good morning, Dr whoever you are. | 0:04:39 | 0:04:42 | |
SHE SIGHS | 0:04:42 | 0:04:44 | |
I, er...sort of hope it's you, Leo, | 0:04:44 | 0:04:48 | |
and I sort of hope it isn't. | 0:04:48 | 0:04:51 | |
Because if it is someone else, then you'll only be interested in the what, | 0:04:51 | 0:04:57 | |
not the why. | 0:04:57 | 0:04:59 | |
The dosage. The temperature. The alcohol. | 0:04:59 | 0:05:02 | |
I could save you the trouble. | 0:05:03 | 0:05:05 | |
But if it isn't someone else, Leo, then you might as well know | 0:05:07 | 0:05:11 | |
that in the cabinet over there are all the tissue samples | 0:05:11 | 0:05:14 | |
you...correctly allege I retained without proper permission. | 0:05:14 | 0:05:19 | |
I wrote to tell her | 0:05:21 | 0:05:22 | |
that the Institute was opening disciplinary proceedings against her. | 0:05:22 | 0:05:26 | |
GLASS CLINKS | 0:05:28 | 0:05:29 | |
SHE GASPS | 0:05:34 | 0:05:36 | |
Yes, I ducked out of asking bereaved parents | 0:05:38 | 0:05:41 | |
if I could section the brains of their dead infants. | 0:05:41 | 0:05:44 | |
Yes, it was improper and unethical. | 0:05:47 | 0:05:50 | |
But I knew, in the very fibre of my bones, | 0:05:50 | 0:05:53 | |
that only a thorough practical study of infant brain tissue | 0:05:53 | 0:05:57 | |
could shed light on why some infants die, | 0:05:57 | 0:05:59 | |
not necessarily because they've been shaken | 0:05:59 | 0:06:01 | |
but for some reason we don't yet understand, | 0:06:01 | 0:06:04 | |
causing untold misery to some parents | 0:06:04 | 0:06:06 | |
and in a few cases, unspeakably cruel miscarriages of justice. | 0:06:06 | 0:06:12 | |
Maybe some pathologist will carry on my work. | 0:06:14 | 0:06:17 | |
Maybe even you, Leo. | 0:06:19 | 0:06:21 | |
SHE GASPS | 0:06:21 | 0:06:23 | |
So, I've counted out 80 nitrazepam at ten milligram each. | 0:06:23 | 0:06:30 | |
I intend to ingest them with, what, at least 500 millilitres of Scotch. | 0:06:31 | 0:06:35 | |
So, what is the correct salutation in these circumstances? | 0:06:37 | 0:06:42 | |
Cheers? | 0:06:44 | 0:06:47 | |
Good health? | 0:06:50 | 0:06:51 | |
Or just good night and good luck? | 0:06:55 | 0:06:57 | |
Please turn it off, will you? | 0:06:57 | 0:06:59 | |
BUTTON CLICKS | 0:06:59 | 0:07:00 | |
Catherine Morrison. Harriet Green. Louise Alsop. Why do they sound so familiar? | 0:07:38 | 0:07:43 | |
Arnold Mears's victims. | 0:07:43 | 0:07:45 | |
Arnold Mears? | 0:07:47 | 0:07:49 | |
Mm, the guy who killed several girls a few years ago. | 0:07:49 | 0:07:53 | |
Helen was the pathologist on the case. | 0:07:53 | 0:07:55 | |
What? | 0:08:01 | 0:08:03 | |
I'll get some paint, do it up nice. | 0:08:04 | 0:08:06 | |
Like a proper bedroom again. | 0:08:07 | 0:08:11 | |
Maybe I should go and see him one last time. | 0:08:12 | 0:08:14 | |
No. | 0:08:14 | 0:08:17 | |
That's...that's all over with now. | 0:08:17 | 0:08:18 | |
- Maybe he could help us. - Help us? What with? | 0:08:18 | 0:08:22 | |
You didn't tell him about Tina, did you? | 0:08:24 | 0:08:26 | |
Course not. | 0:08:29 | 0:08:30 | |
So, these bones you're talking about are evidence of...of crimes, | 0:08:37 | 0:08:40 | |
- of multiple crimes. - Yes. | 0:08:40 | 0:08:42 | |
Why haven't you shown them to the police? | 0:08:42 | 0:08:43 | |
- Annie Farmer asked me not to. - Oh, come on. | 0:08:43 | 0:08:46 | |
- I was about to, and then you called... | 0:08:46 | 0:08:48 | |
ZIPPING | 0:08:48 | 0:08:50 | |
This is not your fault, Leo. | 0:08:54 | 0:08:57 | |
Is this the letter you wrote her? | 0:08:57 | 0:08:59 | |
- Yes. - She hasn't opened it. | 0:09:00 | 0:09:03 | |
She had opened this. | 0:09:06 | 0:09:08 | |
Which is odd. | 0:09:08 | 0:09:10 | |
"And, this once known, shall soon return, | 0:09:10 | 0:09:14 | |
"And bring ye to the place | 0:09:14 | 0:09:15 | |
"where thou and Death Shall dwell at ease." | 0:09:15 | 0:09:19 | |
- Paradise Lost. - Is it? | 0:09:19 | 0:09:21 | |
- Who sent her that? - I think I can tell you. | 0:09:21 | 0:09:25 | |
WOMAN: I can confirm that a body has left the home of Dr Helen Karamides, | 0:09:25 | 0:09:29 | |
the pathologist at the centre of the shaken baby controversy. | 0:09:29 | 0:09:33 | |
We have no details at the moment | 0:09:33 | 0:09:34 | |
but it is not believed that the police regard this death as suspicious. | 0:09:34 | 0:09:38 | |
May we have a comment, please? | 0:09:38 | 0:09:40 | |
A respected colleague of ours has passed away. | 0:09:40 | 0:09:43 | |
It's too soon to comment. | 0:09:43 | 0:09:44 | |
Is it connected to the court case? | 0:09:44 | 0:09:46 | |
Is it true that she was about to be struck off? | 0:09:46 | 0:09:49 | |
NIKKI: I have nothing to say. | 0:09:49 | 0:09:51 | |
Dr Alexander, what has happened here? | 0:09:51 | 0:09:54 | |
NIKKI: No comment. | 0:09:54 | 0:09:56 | |
KARAMIDES: 1st July, 2011. | 0:10:41 | 0:10:44 | |
Interview between Helen Karamides and Arnold Mears. | 0:10:44 | 0:10:47 | |
MEARS: Good morning, Doctor. | 0:10:49 | 0:10:52 | |
KARAMIDES: I'd like to go back to your family, Arnold. | 0:10:52 | 0:10:55 | |
Hm. You think the boy's unhappy because he's poor? | 0:10:55 | 0:11:00 | |
No brothers and sisters. You didn't have a mother. | 0:11:00 | 0:11:04 | |
- I did have a mother. Of course I did. | 0:11:04 | 0:11:06 | |
In a biological sense. | 0:11:06 | 0:11:07 | |
But how well did you know her? | 0:11:07 | 0:11:10 | |
KNOCK AT DOOR | 0:11:10 | 0:11:11 | |
KARAMIDES: What was she like? | 0:11:11 | 0:11:13 | |
MEARS: You take such an interest in me, Doctor. Is that professional? | 0:11:13 | 0:11:19 | |
Or personal? | 0:11:19 | 0:11:21 | |
Of course, I forget. | 0:11:21 | 0:11:24 | |
You're intimate with all your patients. | 0:11:24 | 0:11:27 | |
- KARAMIDES: I don't have patients. - MEARS: Oh, yes, you do. | 0:11:28 | 0:11:32 | |
MEARS: Dead ones. | 0:11:32 | 0:11:35 | |
Slight yellowing of the eyes. | 0:11:42 | 0:11:44 | |
Spider nevus on the right hand. | 0:11:47 | 0:11:50 | |
On both hands. | 0:11:55 | 0:11:57 | |
Some reddening of the palms. | 0:11:57 | 0:11:59 | |
MEARS: Do you think I'm mental, Doctor? | 0:12:05 | 0:12:09 | |
- I think you're ill. - So, it's not my fault? | 0:12:09 | 0:12:13 | |
It's very difficult to prove that sort of thing. | 0:12:13 | 0:12:16 | |
Would you like to look inside my brain? | 0:12:17 | 0:12:20 | |
You could prove it then, couldn't you? | 0:12:20 | 0:12:23 | |
KARAMIDES: Perhaps. | 0:12:23 | 0:12:25 | |
MEARS: There I'd be, | 0:12:25 | 0:12:27 | |
sitting there on a shelf in your laboratory, in a glass jar. | 0:12:27 | 0:12:31 | |
My poor damaged brain | 0:12:31 | 0:12:34 | |
looking down on you for eternity. | 0:12:34 | 0:12:38 | |
- Did you feel anything? - MEARS: When? | 0:12:45 | 0:12:48 | |
KARAMIDES: When... | 0:12:48 | 0:12:50 | |
KARAMIDES: With the women. | 0:12:50 | 0:12:53 | |
- You mean when I cut them? - Yes. | 0:12:53 | 0:12:56 | |
MEARS: Did I feel anything? | 0:12:58 | 0:13:00 | |
Do you? | 0:13:03 | 0:13:04 | |
KARAMIDES: Well, that's different. I'm a scientist. | 0:13:04 | 0:13:07 | |
Didn't you wonder what they felt? | 0:13:07 | 0:13:10 | |
Do laboratory animals have feelings, Dr Karamides? | 0:13:10 | 0:13:14 | |
You regard yourself as a scientist? | 0:13:14 | 0:13:16 | |
I like that. | 0:13:16 | 0:13:19 | |
You and I are the same. | 0:13:19 | 0:13:21 | |
Like two little peas in a pod, with one small difference. | 0:13:21 | 0:13:27 | |
KARAMIDES: And what's that? | 0:13:27 | 0:13:29 | |
MEARS: You do the postmortems. | 0:13:29 | 0:13:32 | |
I do the pre-mortems. | 0:13:32 | 0:13:35 | |
MEARS LAUGHS | 0:13:35 | 0:13:37 | |
HE SIGHS | 0:13:41 | 0:13:43 | |
Some enlargement to the liver. | 0:13:46 | 0:13:48 | |
1,850 grams. | 0:13:50 | 0:13:52 | |
Microscopic changes are consistent | 0:13:55 | 0:13:57 | |
with the external indicators of liver disease seen on the initial examination. | 0:13:57 | 0:14:03 | |
All right, Arnold? | 0:14:11 | 0:14:13 | |
PHONE RINGS | 0:14:28 | 0:14:30 | |
PHONE RINGS | 0:14:45 | 0:14:47 | |
Mum. | 0:14:49 | 0:14:51 | |
PHONE RINGS | 0:14:51 | 0:14:53 | |
No. | 0:14:56 | 0:14:58 | |
PHONE RINGS | 0:14:58 | 0:15:00 | |
DIALLING TONE | 0:15:04 | 0:15:06 | |
TONE STOPS | 0:15:11 | 0:15:13 | |
Helen Karamides was utterly determined to prove her theory. | 0:15:14 | 0:15:18 | |
There's a mass of material. There's MRI scans. | 0:15:18 | 0:15:21 | |
Er...statistical analyses. | 0:15:21 | 0:15:24 | |
Clinical reports. And most intriguingly of all... | 0:15:24 | 0:15:27 | |
she was very, very interested in Arnold Mears. | 0:15:27 | 0:15:31 | |
She interviewed him for 40 hours. | 0:15:31 | 0:15:35 | |
- She could not keep away from him. - Why? | 0:15:35 | 0:15:37 | |
Judging by her PM reports on his victims, | 0:15:37 | 0:15:39 | |
she was formulating a theory about Mears's personality. | 0:15:39 | 0:15:41 | |
She thought that he lacked affect - had no difference | 0:15:41 | 0:15:44 | |
between pain and pleasure - | 0:15:44 | 0:15:46 | |
but that he wanted to find out. | 0:15:46 | 0:15:48 | |
- He experimented on his victims? - Karamides thought so. | 0:15:48 | 0:15:50 | |
But then she made the most interesting discovery of all. | 0:15:50 | 0:15:55 | |
Take a look at this. | 0:15:55 | 0:15:57 | |
This is a scan of Arnold Mears's brain. | 0:16:00 | 0:16:03 | |
- Wow. Look at that. - Scarring. | 0:16:03 | 0:16:05 | |
- On a massive scale. - I've never seen anything quite like it. | 0:16:05 | 0:16:08 | |
Where did he get injuries like this? Fighting? Prison? | 0:16:08 | 0:16:12 | |
Childhood? | 0:16:13 | 0:16:15 | |
She thought he was a shaken baby. | 0:16:15 | 0:16:18 | |
That's why she was interviewing him. | 0:16:18 | 0:16:20 | |
Trying to find out about his childhood, trying to get inside his head. | 0:16:20 | 0:16:24 | |
He obviously got inside... | 0:16:24 | 0:16:26 | |
hers. | 0:16:26 | 0:16:28 | |
And you've examined these remains? | 0:16:44 | 0:16:47 | |
Just a preliminary study, yes. | 0:16:47 | 0:16:49 | |
But the cuts and scratches on the distal bones are clearly visible. | 0:16:49 | 0:16:52 | |
Indicating? | 0:16:52 | 0:16:53 | |
That Annie Farmer's story is probably true. | 0:16:53 | 0:16:56 | |
That they were hacked off by a blade of some kind. | 0:16:56 | 0:16:59 | |
- They were still alive? - Impossible to say. | 0:16:59 | 0:17:02 | |
Well, their suffering's over now, thank God. | 0:17:02 | 0:17:04 | |
Though not the agony their families went through. | 0:17:04 | 0:17:07 | |
But you've brought that one stage closer to resolution. | 0:17:07 | 0:17:10 | |
What are you going to do? | 0:17:11 | 0:17:13 | |
Our job, I hope. The way it should have been done in the first place. | 0:17:13 | 0:17:16 | |
The original team were so keen to put Mears away, they stopped at three bodies. | 0:17:16 | 0:17:21 | |
Didn't push him any further. Understandable, I suppose. | 0:17:21 | 0:17:24 | |
But a case isn't over till it's over. | 0:17:24 | 0:17:27 | |
I'll be in touch. Thanks very much. | 0:17:27 | 0:17:29 | |
- You will be sensitive, won't you? - Sensitive? | 0:17:32 | 0:17:36 | |
Well, it's just that Annie Farmer told me all this in confidence. | 0:17:36 | 0:17:38 | |
Mrs Farmer should have gone to the police a long time ago. | 0:17:38 | 0:17:41 | |
But as I was trying to explain, she didn't feel she was able to. | 0:17:41 | 0:17:44 | |
STROUD: Try telling that to the families. | 0:17:44 | 0:17:46 | |
Concealing evidence is a serious offence. | 0:17:46 | 0:17:48 | |
Dr Alexander feels, we all think, that Mrs Farmer acted from the best motives. | 0:17:48 | 0:17:53 | |
I'll do what I can. | 0:17:53 | 0:17:55 | |
But our priority has got to be finding where Mears buried these poor women. | 0:17:55 | 0:17:59 | |
Of course. | 0:17:59 | 0:18:00 | |
MOP SWEEPING THE FLOOR | 0:18:08 | 0:18:10 | |
H264. | 0:18:18 | 0:18:20 | |
Open up. | 0:18:20 | 0:18:22 | |
DOOR BUZZES | 0:18:22 | 0:18:24 | |
STROUD: "So pondering, | 0:18:24 | 0:18:26 | |
"and from his armed peers Forth stepping opposite, | 0:18:26 | 0:18:30 | |
"halfway he met His daring foe, | 0:18:30 | 0:18:32 | |
"at this prevention more Incensed... | 0:18:32 | 0:18:35 | |
"and thus securely him defied." | 0:18:35 | 0:18:38 | |
Huh. What's all that about? | 0:18:38 | 0:18:41 | |
It's from Book VI. | 0:18:42 | 0:18:44 | |
The very heart of the poem. | 0:18:44 | 0:18:46 | |
Where the Son of God charges Satan and his legions, drives them into hell. | 0:18:46 | 0:18:51 | |
Fascinating. | 0:18:51 | 0:18:52 | |
You read that to those girls before you hacked their hands off? | 0:18:52 | 0:18:56 | |
No. | 0:18:56 | 0:18:58 | |
I read it to myself. | 0:18:58 | 0:19:00 | |
What can I do for you? | 0:19:00 | 0:19:02 | |
You went down for three murders. | 0:19:03 | 0:19:05 | |
But there were more, weren't there? | 0:19:05 | 0:19:08 | |
It's all a bit of a blur. | 0:19:10 | 0:19:11 | |
You don't remember how many women you killed? | 0:19:11 | 0:19:14 | |
I've got a medical condition. | 0:19:15 | 0:19:17 | |
Something wrong with my brain. | 0:19:17 | 0:19:20 | |
I tried to get my head around it, but there's something wrong with my brain. | 0:19:20 | 0:19:25 | |
Well, let me help you. | 0:19:25 | 0:19:27 | |
We have evidence that you murdered as many as seven young women. | 0:19:27 | 0:19:31 | |
I'm offering you the chance to tell us where they are. | 0:19:31 | 0:19:35 | |
- Seven, you say? - At least. | 0:19:35 | 0:19:37 | |
Mm. | 0:19:37 | 0:19:39 | |
No, I'm sorry. Nothing's coming. | 0:19:42 | 0:19:45 | |
Maybe you made a mistake. | 0:19:45 | 0:19:47 | |
Oh, we have scientific evidence. | 0:19:47 | 0:19:50 | |
What evidence? | 0:19:51 | 0:19:52 | |
Bones. From the hands of at least four individuals. | 0:19:52 | 0:19:57 | |
You've been talking to Annie Farmer. | 0:20:00 | 0:20:03 | |
PHONE RINGS | 0:20:03 | 0:20:05 | |
PHONE RINGS AND STOPS | 0:20:07 | 0:20:10 | |
PHONE RINGS | 0:20:18 | 0:20:20 | |
PHONE RINGS | 0:20:21 | 0:20:22 | |
DIALLING TONE | 0:20:22 | 0:20:24 | |
PHONE RINGS | 0:20:26 | 0:20:28 | |
PHONE RINGS | 0:20:29 | 0:20:31 | |
PHONE RINGS | 0:20:32 | 0:20:35 | |
DIALLING TONE | 0:20:35 | 0:20:38 | |
ANNIE: Hello? | 0:20:38 | 0:20:40 | |
You're not answering my calls, Annie. | 0:20:40 | 0:20:43 | |
Are you bored of me? | 0:20:43 | 0:20:45 | |
No. No, of course not. | 0:20:45 | 0:20:48 | |
Have you found someone else to talk to? | 0:20:48 | 0:20:50 | |
What? | 0:20:50 | 0:20:52 | |
MEARS: I had a visit from a policeman. | 0:20:52 | 0:20:55 | |
I told you what would happen if you talked to them. | 0:20:55 | 0:20:59 | |
I didn't talk to the police, I swear. | 0:20:59 | 0:21:01 | |
The policeman mentioned your name. He was very specific. | 0:21:01 | 0:21:05 | |
We've known each other a long time, Annie. | 0:21:05 | 0:21:07 | |
I would hate to think we couldn't trust each other any more. | 0:21:07 | 0:21:10 | |
You can. You can. You can trust me. | 0:21:10 | 0:21:13 | |
I do hope so. | 0:21:13 | 0:21:15 | |
Because if I thought I couldn't, we wouldn't have our little chats. | 0:21:15 | 0:21:20 | |
Just when you were about to get exactly what you wanted. | 0:21:20 | 0:21:24 | |
Am I? | 0:21:25 | 0:21:27 | |
Yes. | 0:21:27 | 0:21:29 | |
Do you want to visit me today? We can talk about Tina. | 0:21:30 | 0:21:34 | |
Really? | 0:21:35 | 0:21:37 | |
Yes. | 0:21:37 | 0:21:39 | |
Just tell me who you were talking to. | 0:21:39 | 0:21:41 | |
Then we can have our chat. | 0:21:41 | 0:21:44 | |
Dr Alexander. | 0:21:47 | 0:21:48 | |
Nikki, Nikki Alexander. | 0:21:48 | 0:21:51 | |
FOOTSTEPS | 0:21:52 | 0:21:54 | |
HARRY: Everything all right? | 0:21:54 | 0:21:56 | |
Just a couple more questions, if you wouldn't mind. | 0:21:56 | 0:21:59 | |
- Of course. - For Dr Alexander. | 0:21:59 | 0:22:00 | |
- It's about Annie Farmer. - What about her? | 0:22:02 | 0:22:06 | |
I've spoken to the governor of the secure unit where Mears is being held. | 0:22:06 | 0:22:09 | |
Mrs Farmer has visited him 31 times in the last three years. | 0:22:09 | 0:22:14 | |
Now, that's almost once a month. | 0:22:14 | 0:22:16 | |
I told you, she feels she's got to. | 0:22:16 | 0:22:18 | |
And I've checked with the other prisons where Mears has been held, | 0:22:18 | 0:22:21 | |
and there's a similar pattern. | 0:22:21 | 0:22:22 | |
She can't stop. That's the point. | 0:22:22 | 0:22:24 | |
Now, I'd say that was a pretty full diary, even for a wife or a partner. | 0:22:24 | 0:22:30 | |
What are you implying? | 0:22:30 | 0:22:32 | |
I just need to be sure we're not dealing with a romantic obsession here. | 0:22:32 | 0:22:36 | |
What? | 0:22:36 | 0:22:37 | |
She's a lonely woman. It wouldn't be the first time. | 0:22:37 | 0:22:39 | |
I don't think that Annie's like that. | 0:22:39 | 0:22:42 | |
Maybe she just enjoys the attention. | 0:22:42 | 0:22:43 | |
What, you're saying that she digs up bones to make herself look important? | 0:22:43 | 0:22:47 | |
Oh, he was her moment of glory. She wants to hang on to it. | 0:22:47 | 0:22:51 | |
- Have you been to see him? - Obviously, I've re-interviewed him. | 0:22:51 | 0:22:54 | |
Did you tell him about Annie? | 0:22:54 | 0:22:57 | |
DOGS BARK AND WHINE NEARBY | 0:22:57 | 0:23:00 | |
I'm back, Mum. | 0:23:04 | 0:23:06 | |
Mum? | 0:23:08 | 0:23:10 | |
Mum. | 0:23:12 | 0:23:14 | |
HE SIGHS | 0:23:31 | 0:23:33 | |
Does she seem familiar? | 0:23:33 | 0:23:36 | |
It's difficult. | 0:23:37 | 0:23:39 | |
Do you think you remember her? | 0:23:42 | 0:23:45 | |
Yes. | 0:23:58 | 0:24:00 | |
I remember her. | 0:24:01 | 0:24:02 | |
SHE SOBS | 0:24:02 | 0:24:04 | |
- What's the matter? - Mum's gone to him. | 0:24:19 | 0:24:21 | |
Are you sure? | 0:24:21 | 0:24:22 | |
He rang when I was there. I know it was him. | 0:24:22 | 0:24:24 | |
They've got a code, a signal he uses when he wants her. | 0:24:24 | 0:24:28 | |
She ignored it. | 0:24:28 | 0:24:29 | |
- So? - He rang back after I'd gone out. | 0:24:29 | 0:24:32 | |
- How do you know? - Because I just know. | 0:24:32 | 0:24:34 | |
And this time she's taken Tina's picture with her. | 0:24:34 | 0:24:37 | |
Who's Tina? | 0:24:37 | 0:24:39 | |
- My sister. - Your sister? | 0:24:39 | 0:24:41 | |
She left home when she was 16. | 0:24:41 | 0:24:44 | |
Walked out one morning after her and Mum had a row, and that was that. | 0:24:44 | 0:24:47 | |
You think that Mears has got something to do with her disappearance? | 0:24:47 | 0:24:51 | |
No, I don't. I think she's just out there somewhere. | 0:24:51 | 0:24:54 | |
I tried to tell Mum this, but it's almost like she wants it to be true. | 0:24:54 | 0:24:58 | |
To end the not knowing. | 0:24:58 | 0:25:00 | |
She thinks it's fate that took her to Mears. God's will. | 0:25:00 | 0:25:03 | |
Andy, the best people to help your mum now are the police. | 0:25:03 | 0:25:07 | |
No. I told you, didn't I? If the police find out, he'll punish her. | 0:25:07 | 0:25:11 | |
You don't know his power. He's poison. He can make her do anything he likes. | 0:25:11 | 0:25:14 | |
Andy, the police are already involved. | 0:25:14 | 0:25:17 | |
They've spoken to Mears. | 0:25:19 | 0:25:21 | |
And they will help your mum, I promise you. | 0:25:21 | 0:25:24 | |
I'm sorry. | 0:25:27 | 0:25:29 | |
We had to do tell them, no choice. | 0:25:29 | 0:25:31 | |
But... | 0:25:32 | 0:25:34 | |
I trusted you. | 0:25:34 | 0:25:36 | |
Mum trusted you. | 0:25:38 | 0:25:41 | |
I took you to her. I...I thought you'd help us. | 0:25:44 | 0:25:48 | |
These are human bones, evidence of terrible crimes. | 0:25:48 | 0:25:51 | |
I'm talking about my mum. | 0:25:51 | 0:25:54 | |
He knows. | 0:25:56 | 0:25:57 | |
You've given her away. | 0:25:59 | 0:26:02 | |
He'll find a way to kill her now. | 0:26:02 | 0:26:04 | |
I'll never forgive you. | 0:26:07 | 0:26:10 | |
DOOR CLICKS AND BEEPS | 0:26:16 | 0:26:18 | |
ANNIE: Where is she? | 0:26:19 | 0:26:23 | |
Please. | 0:26:24 | 0:26:26 | |
Tell me, please. | 0:26:26 | 0:26:28 | |
Where did you bury her? | 0:26:28 | 0:26:30 | |
I'm not finished. | 0:26:32 | 0:26:34 | |
Tell me. | 0:26:35 | 0:26:37 | |
SHE GASPS | 0:26:37 | 0:26:39 | |
Please tell me where she is! | 0:26:39 | 0:26:41 | |
A little goodbye kiss. Go on. | 0:26:41 | 0:26:44 | |
Tell me. Please. | 0:26:44 | 0:26:46 | |
GUARD: Come on, come on. | 0:26:48 | 0:26:50 | |
MEARS LAUGHS | 0:26:52 | 0:26:55 | |
Oh, please. | 0:27:04 | 0:27:06 | |
SHE GASPS AND SOBS | 0:27:10 | 0:27:12 | |
Yep. | 0:27:21 | 0:27:24 | |
You're quite sure? She's not still in the building somewhere? | 0:27:24 | 0:27:28 | |
OK. Thanks. | 0:27:28 | 0:27:30 | |
- She's already left the prison. | 0:27:30 | 0:27:33 | |
Probably gone home. | 0:27:33 | 0:27:35 | |
- Leo? - Yep. | 0:27:36 | 0:27:39 | |
I'm worried about Annie Farmer. | 0:27:41 | 0:27:43 | |
- Why? - Her son's just come to see me. | 0:27:43 | 0:27:45 | |
And he's convinced that Mears is going to punish her for talking to me. | 0:27:45 | 0:27:48 | |
How? He's in prison. | 0:27:48 | 0:27:51 | |
Look what happened to Helen Karamides. | 0:27:53 | 0:27:55 | |
Mum? | 0:28:00 | 0:28:02 | |
Where are you? Look, call me. | 0:28:02 | 0:28:05 | |
Call me. Please. | 0:28:05 | 0:28:07 | |
- Harry? - What? | 0:28:21 | 0:28:23 | |
The DNA results from the bones have come through. | 0:28:23 | 0:28:25 | |
They've all been identified from the missing persons database. | 0:28:25 | 0:28:27 | |
Good. | 0:28:27 | 0:28:29 | |
- Arnold Mears's DNA is all over them. - Very good. | 0:28:29 | 0:28:31 | |
Hang on. Look at this. | 0:28:38 | 0:28:41 | |
DNA from the bit of cloth. | 0:28:45 | 0:28:47 | |
- And that's not Mears's. - Contamination. | 0:28:47 | 0:28:50 | |
But it's very close. | 0:28:51 | 0:28:53 | |
And whoever it is, they're not on the national database. | 0:28:54 | 0:28:57 | |
Probably borrowed someone's handkerchief some time | 0:28:57 | 0:29:00 | |
and then used it later to wrap the bone. | 0:29:00 | 0:29:02 | |
Mears lived alone. | 0:29:02 | 0:29:03 | |
He was a loner. The police argued he was the classic solitary killer. | 0:29:03 | 0:29:07 | |
But maybe someone helped him. | 0:29:07 | 0:29:10 | |
An accomplice? A family member? | 0:29:10 | 0:29:11 | |
It's possible, isn't it? | 0:29:11 | 0:29:13 | |
You heard that policeman. | 0:29:13 | 0:29:15 | |
The original team was so desperate to put Mears away | 0:29:15 | 0:29:17 | |
that they stopped at three bodies. | 0:29:17 | 0:29:20 | |
If they didn't follow that up, then maybe they missed this, too. | 0:29:20 | 0:29:24 | |
- Mr Gladwyn? - Yes? | 0:29:44 | 0:29:47 | |
Hi. My name's Nikki Alexander. I'm a forensic pathologist. | 0:29:47 | 0:29:50 | |
- I wondered if I could talk to you? - What about? | 0:29:50 | 0:29:53 | |
About Arnold Mears. | 0:29:53 | 0:29:54 | |
- I don't think so. - Mr Gladwyn! | 0:29:56 | 0:29:59 | |
Annie Farmer's been visiting him in prison and now she's gone missing. | 0:29:59 | 0:30:02 | |
I need your help. | 0:30:02 | 0:30:05 | |
Do you remember Annie Farmer? | 0:30:05 | 0:30:07 | |
The things that poor woman had to listen to. | 0:30:09 | 0:30:13 | |
The foulest things. | 0:30:13 | 0:30:16 | |
And the tone of his voice as he said them. | 0:30:17 | 0:30:20 | |
What she was doing there I'll never understand. | 0:30:20 | 0:30:23 | |
It was hard enough for us. | 0:30:23 | 0:30:24 | |
Two of my lads asked to be taken off the case. | 0:30:24 | 0:30:28 | |
But he loved it. | 0:30:29 | 0:30:30 | |
Couldn't wait to confess. | 0:30:32 | 0:30:34 | |
Every last detail. | 0:30:34 | 0:30:37 | |
We've discovered some new forensic evidence, which raises some questions. | 0:30:37 | 0:30:42 | |
Did you ever suspect that he had an accomplice? | 0:30:43 | 0:30:46 | |
An accomplice? | 0:30:48 | 0:30:50 | |
Another Arnold Mears? | 0:30:50 | 0:30:52 | |
God forbid. | 0:30:54 | 0:30:55 | |
Did you think that there might have been more victims? | 0:30:56 | 0:30:58 | |
I tried to kill him, you know. | 0:31:01 | 0:31:03 | |
He admitted that he'd killed three girls. | 0:31:04 | 0:31:07 | |
He told us what he'd done to them, the things they said, how they died. | 0:31:09 | 0:31:13 | |
He enjoyed seeing the look on our faces. | 0:31:14 | 0:31:17 | |
Did you ask him if he'd killed any others? | 0:31:17 | 0:31:19 | |
Of course, but he just smiled his stupid smile and started reciting poetry. | 0:31:19 | 0:31:25 | |
I called a break, told my DC to go and get some coffee, | 0:31:26 | 0:31:29 | |
I put my fingers round his neck and started strangling him. | 0:31:29 | 0:31:33 | |
- What happened? - The DC came back, pulled me off. | 0:31:33 | 0:31:37 | |
Mears just laughed. | 0:31:37 | 0:31:39 | |
He'd won. | 0:31:40 | 0:31:42 | |
I felt soiled. | 0:31:42 | 0:31:44 | |
We were just glad to put him away and forget about him. | 0:31:44 | 0:31:49 | |
And I suggest you do the same. | 0:31:53 | 0:31:56 | |
Can I help? | 0:32:16 | 0:32:18 | |
Is there anything in here about Arnold Mears's family background? | 0:32:18 | 0:32:20 | |
Why are you interested? | 0:32:20 | 0:32:22 | |
DNA suggests he might have had an accomplice, a family member. | 0:32:22 | 0:32:25 | |
The police would have mentioned it. | 0:32:25 | 0:32:26 | |
What happens if they didn't know about it? | 0:32:26 | 0:32:28 | |
I think he might have bluffed them. | 0:32:28 | 0:32:32 | |
Apparently, he was so graphic when they were questioning him, | 0:32:32 | 0:32:35 | |
they just wanted to put him away. | 0:32:35 | 0:32:37 | |
But maybe he was protecting someone, | 0:32:37 | 0:32:39 | |
distracting them so that they never asked the right questions. | 0:32:39 | 0:32:43 | |
And? | 0:32:43 | 0:32:44 | |
Well, whoever he is, this accomplice might still be out there | 0:32:44 | 0:32:48 | |
and Mears might be sending Annie to him. | 0:32:48 | 0:32:51 | |
Well, during her interviews, Helen asked several times about the family. | 0:32:51 | 0:32:54 | |
But he was always very evasive. | 0:32:54 | 0:32:56 | |
She was convinced that he'd been abused as a child | 0:32:56 | 0:32:59 | |
so she carried on the investigation. | 0:32:59 | 0:33:00 | |
Looks like his mother died in childbirth. | 0:33:00 | 0:33:03 | |
No siblings. | 0:33:05 | 0:33:07 | |
He was brought up by his father. | 0:33:07 | 0:33:09 | |
Still alive? | 0:33:09 | 0:33:11 | |
Er...yes. | 0:33:11 | 0:33:13 | |
CROWS CAW | 0:33:17 | 0:33:19 | |
NURSE: It won't take long, will it? | 0:33:19 | 0:33:21 | |
It's just he gets very tired. | 0:33:21 | 0:33:23 | |
It's just a quick swab, that's all. | 0:33:23 | 0:33:25 | |
Mr Mears? | 0:33:31 | 0:33:33 | |
Mr Mears? | 0:33:34 | 0:33:36 | |
Mr Mears, I'm Nikki Alexander. I'm a pathologist. | 0:33:39 | 0:33:43 | |
This is my colleague, Harry Cunningham. | 0:33:43 | 0:33:45 | |
Hm. | 0:33:45 | 0:33:47 | |
Did someone tell you we were coming? | 0:33:47 | 0:33:49 | |
Yes. Ha-ha. | 0:33:49 | 0:33:51 | |
We want to ask you some questions about your son, Arnold. | 0:33:51 | 0:33:55 | |
Don't...don't tell him I'm here, will you? | 0:33:57 | 0:34:00 | |
Don't worry. We won't. | 0:34:00 | 0:34:02 | |
- When did you last see him? - It wasn't my fault. | 0:34:02 | 0:34:06 | |
What wasn't your fault? | 0:34:06 | 0:34:08 | |
Anybody would have loved her. | 0:34:08 | 0:34:10 | |
She was... | 0:34:10 | 0:34:13 | |
so beautiful. Huh! | 0:34:13 | 0:34:15 | |
She went away. | 0:34:17 | 0:34:19 | |
Did you help your son, Mr Mears? | 0:34:19 | 0:34:21 | |
Eh? Yeah, of course I did! | 0:34:21 | 0:34:23 | |
I did everything I could for the boy! | 0:34:23 | 0:34:26 | |
HE COUGHS | 0:34:26 | 0:34:27 | |
But he had... | 0:34:27 | 0:34:29 | |
Satan here inside of him! | 0:34:29 | 0:34:32 | |
COUGHING | 0:34:32 | 0:34:33 | |
But you won't...you won't tell him I'm here, will you? | 0:34:35 | 0:34:38 | |
For God's sake, for God... | 0:34:38 | 0:34:41 | |
I'm sorry. | 0:34:41 | 0:34:43 | |
I'm so sorry. | 0:34:43 | 0:34:45 | |
Can we take the swab, Mr Mears? | 0:34:45 | 0:34:49 | |
Yes. | 0:34:49 | 0:34:51 | |
- What do you think? - I don't know. | 0:34:55 | 0:34:57 | |
It doesn't seem very likely, does it? But if not him, then who? | 0:34:57 | 0:35:00 | |
The DNA will confirm it. | 0:35:00 | 0:35:02 | |
Yes, but that will take time and meanwhile, we have no idea where Annie is. | 0:35:02 | 0:35:05 | |
And if he wasn't the accomplice, then...? | 0:35:05 | 0:35:08 | |
Hang on a minute. Excuse me. How long has Mr Mears been a resident here? | 0:35:08 | 0:35:12 | |
Well, he was here when I started, about seven years ago. | 0:35:12 | 0:35:15 | |
- Has he always been this frail? - For as long as I've known him. | 0:35:15 | 0:35:18 | |
Has he ever gone out much? | 0:35:18 | 0:35:19 | |
- Outside the home, do you mean? - Staying with family, that sort of thing. | 0:35:19 | 0:35:23 | |
He's never been beyond the seat at the bottom of the garden. | 0:35:23 | 0:35:26 | |
Any further than that, and he wouldn't be able to find his way back again. | 0:35:26 | 0:35:30 | |
Thanks. | 0:35:31 | 0:35:32 | |
Look at this. Arnold Mears, aged nine years and three months, | 0:35:37 | 0:35:41 | |
admitted to hospital with severe concussion on 10th May, 1957. | 0:35:41 | 0:35:45 | |
An accident while playing, is what it says here. | 0:35:45 | 0:35:48 | |
But the police suspected that the father might be responsible. | 0:35:48 | 0:35:51 | |
Well, he may or may not have beaten him up when he was a kid, but... | 0:35:51 | 0:35:54 | |
It wasn't the father. | 0:35:54 | 0:35:55 | |
- He wasn't Mears's accomplice. - HARRY: No. | 0:35:55 | 0:35:57 | |
- Any another members of the family? - There don't appear to be any. | 0:35:57 | 0:36:00 | |
- Where did the accident happen? - The hospital was in Ladbroke Grove. | 0:36:00 | 0:36:04 | |
No home address. | 0:36:04 | 0:36:07 | |
Mr Mears appears to have been a verger at St Chad's. | 0:36:07 | 0:36:11 | |
That's a church down the road. | 0:36:13 | 0:36:15 | |
If I remember rightly, there's an entry in Helen's diary. | 0:36:15 | 0:36:17 | |
Yes, here we are. | 0:36:17 | 0:36:20 | |
She went there three days before she died. | 0:36:20 | 0:36:23 | |
Did she find anything out? | 0:36:23 | 0:36:25 | |
Who knows? | 0:36:25 | 0:36:27 | |
"...let each His adamantine coat gird well, | 0:36:29 | 0:36:33 | |
"and each Fit well his helm, | 0:36:33 | 0:36:36 | |
"grip fast his orbed shield, Borne even or high, | 0:36:36 | 0:36:41 | |
"for this day will pour down, If I conjecture aught, no drizzling shower | 0:36:41 | 0:36:46 | |
"But rattling storm of arrows barbed with fire." | 0:36:46 | 0:36:51 | |
Excuse me. | 0:37:06 | 0:37:09 | |
Have you been coming to this church for a long time? | 0:37:09 | 0:37:11 | |
Many years. | 0:37:11 | 0:37:13 | |
You don't remember someone called Arnold Mears, do you? | 0:37:13 | 0:37:16 | |
You might know his name. He's in prison now. | 0:37:16 | 0:37:18 | |
I think his father was the verger here some time ago. | 0:37:18 | 0:37:21 | |
Everybody knows about Arnold Mears. | 0:37:21 | 0:37:23 | |
Did you know him personally? | 0:37:23 | 0:37:25 | |
I met him when he was a child. | 0:37:25 | 0:37:27 | |
- Later? - I wasn't here then. | 0:37:27 | 0:37:31 | |
Did you know if he had any brothers or sisters? | 0:37:31 | 0:37:33 | |
Not that I've heard of. He...he was a lonely child. | 0:37:33 | 0:37:38 | |
So...so I've heard. | 0:37:38 | 0:37:40 | |
Thanks. | 0:37:41 | 0:37:42 | |
Why are you asking all these questions? | 0:37:42 | 0:37:44 | |
I'm doing some research. | 0:37:45 | 0:37:47 | |
To try to find out why he did what he did? | 0:37:47 | 0:37:52 | |
Yes. | 0:37:52 | 0:37:54 | |
Well, there was another woman here last week asking the same questions. | 0:37:54 | 0:37:58 | |
- Yes, she was a colleague of mine. - I...I told her then everything I know. | 0:37:58 | 0:38:02 | |
I mean, he used to play here when his father was working. | 0:38:02 | 0:38:08 | |
Apparently, he had a terrible accident when he was nine. | 0:38:12 | 0:38:16 | |
Do you know if that happened here? | 0:38:16 | 0:38:19 | |
In the crypt, I believe. | 0:38:20 | 0:38:23 | |
NIKKI: Do you know if he was mistreated as a child? | 0:38:27 | 0:38:30 | |
I heard that he had no love from his father. | 0:38:32 | 0:38:35 | |
I used to feel sorry for him. | 0:38:37 | 0:38:39 | |
It...it's probably why he did all those dreadful things. | 0:38:40 | 0:38:44 | |
It still doesn't excuse what he did, though, does it? | 0:38:44 | 0:38:47 | |
God can redeem any sinner. | 0:38:49 | 0:38:51 | |
No matter how grave the sin. | 0:38:51 | 0:38:54 | |
NIKKI SIGHS | 0:39:09 | 0:39:11 | |
Thank you for your help. | 0:39:12 | 0:39:14 | |
PHONE RINGS | 0:39:14 | 0:39:15 | |
Oh, I'm so sorry. | 0:39:15 | 0:39:16 | |
I need to take this call. I'll go up. | 0:39:17 | 0:39:21 | |
- Right. - Thanks. | 0:39:21 | 0:39:24 | |
BOY: Mum! | 0:39:24 | 0:39:26 | |
Mum! | 0:39:28 | 0:39:29 | |
Mum! | 0:39:29 | 0:39:31 | |
Mum! | 0:39:31 | 0:39:33 | |
LEO: Nikki. | 0:39:33 | 0:39:35 | |
I've got some news. | 0:39:35 | 0:39:37 | |
Have they found Annie? | 0:39:37 | 0:39:39 | |
No. No, it's Mears. | 0:39:39 | 0:39:41 | |
He's decided to reveal where the remaining bodies are. | 0:39:41 | 0:39:44 | |
- Right. - On one condition. | 0:39:45 | 0:39:47 | |
What's that? | 0:39:47 | 0:39:50 | |
He reveals them to you. | 0:39:50 | 0:39:52 | |
Nikki? | 0:39:56 | 0:39:58 | |
Yes. I'm here. | 0:39:58 | 0:40:00 | |
STROUD: Don't make physical contact. | 0:40:05 | 0:40:07 | |
Don't give him anything or accept anything from him. | 0:40:07 | 0:40:11 | |
And don't tell him any personal details. | 0:40:11 | 0:40:13 | |
You don't have to do this, Nikki. No one's going to think the worse of you. | 0:40:13 | 0:40:17 | |
It's OK. Is there anything else? | 0:40:17 | 0:40:20 | |
Yeah, ear piece. | 0:40:20 | 0:40:22 | |
Won't that make him suspicious? | 0:40:23 | 0:40:26 | |
We won't be able to communicate with you, otherwise. | 0:40:26 | 0:40:28 | |
Don't worry. I'll be fine. | 0:40:28 | 0:40:30 | |
Good luck. | 0:40:31 | 0:40:33 | |
Thanks. | 0:40:33 | 0:40:35 | |
- Mr Mears, I'm Dr... - Dr Nikki Alexander. Yeah. | 0:40:51 | 0:40:55 | |
I know all about you. I did invite you, didn't I? | 0:40:55 | 0:40:58 | |
Yes. You did. | 0:40:59 | 0:41:00 | |
Did your bring your pencil and paper, like a good girl? | 0:41:00 | 0:41:04 | |
No, of course you haven't. | 0:41:04 | 0:41:06 | |
Your friends next door | 0:41:06 | 0:41:07 | |
will have taken care of all the clerical details, won't they? | 0:41:07 | 0:41:09 | |
MEARS CHUCKLES | 0:41:09 | 0:41:11 | |
I hear you want to tell me where the bodies of your other victims are buried. | 0:41:11 | 0:41:14 | |
MEARS: Oh, you're in a hurry. You got somewhere to go? | 0:41:14 | 0:41:18 | |
It's all right, you're perfectly safe. | 0:41:18 | 0:41:21 | |
I can't harm you. | 0:41:21 | 0:41:23 | |
STROUD: He's taking control. | 0:41:23 | 0:41:25 | |
Doesn't matter if he tells her where the bodies are buried, does it? | 0:41:25 | 0:41:27 | |
All right. Let's talk about Annie Farmer. | 0:41:27 | 0:41:30 | |
HE LAUGHS | 0:41:30 | 0:41:31 | |
Annie? Annie? | 0:41:31 | 0:41:34 | |
Annie's gone, I'm afraid, and, er...she won't be coming back. | 0:41:34 | 0:41:38 | |
Where have you sent her? | 0:41:38 | 0:41:39 | |
I've sent her to find her long-lost daughter. | 0:41:39 | 0:41:42 | |
- No, you haven't. - No, I haven't. | 0:41:44 | 0:41:47 | |
You've no idea where Tina is. | 0:41:47 | 0:41:48 | |
I was just being polite. | 0:41:48 | 0:41:51 | |
Trying to give her what she wanted. | 0:41:51 | 0:41:54 | |
To tell you the truth, I was getting a bit bored with Annie. | 0:41:54 | 0:42:00 | |
- So, you're getting rid of her? - Mm. | 0:42:01 | 0:42:03 | |
Were you bored with Dr Karamides? | 0:42:04 | 0:42:07 | |
Dr Karamides killed herself. | 0:42:08 | 0:42:10 | |
- Nothing to do with me. - I think it was. | 0:42:11 | 0:42:13 | |
Why are you so concerned? She a friend of yours? | 0:42:13 | 0:42:17 | |
She was a colleague. | 0:42:17 | 0:42:19 | |
Mm. Really? | 0:42:19 | 0:42:20 | |
I saw you outside her house, on television. | 0:42:20 | 0:42:24 | |
Yes, I attended the scene of her death. | 0:42:25 | 0:42:27 | |
In a professional capacity? | 0:42:27 | 0:42:30 | |
- Yes. - You looked upset. | 0:42:30 | 0:42:33 | |
How did she look? Peaceful? | 0:42:33 | 0:42:37 | |
Yes. | 0:42:37 | 0:42:39 | |
Liar. | 0:42:40 | 0:42:41 | |
It was pills and booze, wasn't it? What a way to die, eh? | 0:42:42 | 0:42:46 | |
Face down in a pool of your own stomach contents. Hm. | 0:42:46 | 0:42:51 | |
HE CHUCKLES | 0:42:51 | 0:42:52 | |
Dr Karamides used to come and visit me quite often. | 0:42:52 | 0:42:57 | |
I think she was half in love with me. | 0:42:57 | 0:43:00 | |
Oh. | 0:43:02 | 0:43:03 | |
Some women probably do find you interesting. Exciting. | 0:43:03 | 0:43:09 | |
Do you? | 0:43:10 | 0:43:13 | |
No. | 0:43:16 | 0:43:17 | |
Then why are you here? | 0:43:17 | 0:43:19 | |
You invited me. | 0:43:19 | 0:43:21 | |
Well, maybe if you got to know me a bit better, | 0:43:21 | 0:43:24 | |
you might come and visit me out of more than politeness. | 0:43:24 | 0:43:28 | |
Maybe I would. | 0:43:30 | 0:43:31 | |
How often would you visit me? | 0:43:33 | 0:43:35 | |
Once a month? | 0:43:35 | 0:43:37 | |
It would have to be more than that. | 0:43:38 | 0:43:41 | |
It'd be nice to have something to look forward to. | 0:43:43 | 0:43:46 | |
OK. | 0:43:47 | 0:43:48 | |
More than that, if you like. | 0:43:48 | 0:43:51 | |
We could talk about important things. | 0:43:51 | 0:43:53 | |
What made you happy, what made you sad. | 0:43:54 | 0:43:57 | |
Intimate things. | 0:43:58 | 0:44:00 | |
They'd never let us. | 0:44:03 | 0:44:05 | |
- Change the subject, Nikki. - What's she playing at? | 0:44:05 | 0:44:08 | |
Wait. Wait. | 0:44:08 | 0:44:10 | |
MEARS: They would, | 0:44:10 | 0:44:11 | |
if it was about the bodies. | 0:44:11 | 0:44:13 | |
I could give you them, | 0:44:16 | 0:44:17 | |
one at a time. | 0:44:17 | 0:44:19 | |
So, that would make 12 visits. | 0:44:19 | 0:44:23 | |
At least. | 0:44:23 | 0:44:25 | |
You're lying. | 0:44:27 | 0:44:30 | |
I may not be an educated man, Dr Alexander, but I'm not stupid. | 0:44:30 | 0:44:34 | |
You lie to me again, I'll leave | 0:44:34 | 0:44:37 | |
and that'll be the end of your precious Annie. | 0:44:37 | 0:44:40 | |
- I don't like the way this is going. - I think she knows what she's doing. | 0:44:40 | 0:44:43 | |
Let's talk about your work. | 0:44:43 | 0:44:46 | |
Do you like it? | 0:44:47 | 0:44:49 | |
NIKKI: Yes. | 0:44:49 | 0:44:50 | |
Cutting up bodies. Mm, so do I. | 0:44:50 | 0:44:52 | |
MEARS CHUCKLES | 0:44:52 | 0:44:53 | |
Sometimes I cut them up before they were dead. That was always the fun bit. | 0:44:53 | 0:44:59 | |
You had it easier, though. Someone got rid of yours. | 0:44:59 | 0:45:03 | |
I had to get rid of mine all by myself. That was always the difficult bit. | 0:45:03 | 0:45:07 | |
You managed, though, all by yourself. | 0:45:07 | 0:45:10 | |
Or did you have someone to help you? | 0:45:10 | 0:45:12 | |
Well, listen, it's been lovely having this chat with you and the rest of the team, | 0:45:17 | 0:45:21 | |
but I think this conversation is over. | 0:45:21 | 0:45:24 | |
He's told us nothing. | 0:45:24 | 0:45:25 | |
Come on! Come on! | 0:45:25 | 0:45:28 | |
Don't you walk away from me! | 0:45:31 | 0:45:34 | |
I went to St Chad's today. | 0:45:35 | 0:45:37 | |
That must have been a strange place to grow up. | 0:45:37 | 0:45:41 | |
A little boy all by himself. Can't have been much of a childhood. | 0:45:41 | 0:45:45 | |
- I was happy enough. - That's not what I heard. | 0:45:45 | 0:45:48 | |
- Who from? - An old lady I met there. | 0:45:48 | 0:45:49 | |
She said she felt sorry for you. | 0:45:49 | 0:45:51 | |
Well, I'm glad somebody does. | 0:45:51 | 0:45:53 | |
MAN: Arnold! | 0:46:07 | 0:46:09 | |
THE GATE CREAKS | 0:46:09 | 0:46:11 | |
MAN: Where are you? | 0:46:12 | 0:46:14 | |
I know you're in here! | 0:46:26 | 0:46:28 | |
MAN: You can stay in here. | 0:46:37 | 0:46:40 | |
I'm sorry. | 0:46:58 | 0:47:00 | |
Don't leave me here. | 0:47:03 | 0:47:05 | |
I promise to be good. | 0:47:05 | 0:47:07 | |
- Did your father beat you, Arnold? - Ha-ha! What? | 0:47:07 | 0:47:10 | |
Dr Karamides said she found scarring on your brain. Is that how you got it? | 0:47:10 | 0:47:14 | |
My dad? He wouldn't dare. Is that the best you've got? | 0:47:14 | 0:47:17 | |
Get me out of here. | 0:47:17 | 0:47:19 | |
- Why did you bring this today? - Well, you can't be too careful. | 0:47:19 | 0:47:23 | |
Last time I left it in my cell, I found a cop with his nose in it. | 0:47:23 | 0:47:27 | |
No, leave it alone! | 0:47:27 | 0:47:30 | |
I said, don't touch it! | 0:47:30 | 0:47:32 | |
NIKKI: To my dearest Arnold, from his loving Mother. | 0:47:42 | 0:47:46 | |
I thought she died when you were born. | 0:47:46 | 0:47:48 | |
Was it your mother who beat you? | 0:47:51 | 0:47:53 | |
My mum loved me. | 0:47:53 | 0:47:56 | |
Mum! Where are you? | 0:47:56 | 0:47:58 | |
Mum! Mum! | 0:47:59 | 0:48:02 | |
But they sent her away. | 0:48:02 | 0:48:04 | |
Why? | 0:48:04 | 0:48:05 | |
When my Dad got her pregnant. | 0:48:05 | 0:48:09 | |
She was 13. | 0:48:09 | 0:48:11 | |
They said she was a slut! | 0:48:11 | 0:48:13 | |
Wouldn't let her see me! | 0:48:13 | 0:48:15 | |
But she wanted to. | 0:48:16 | 0:48:18 | |
My mum, she loved me! She's the only one that ever did! | 0:48:18 | 0:48:22 | |
So, how did you damage your brain? Who did that to you? | 0:48:22 | 0:48:25 | |
I did! | 0:48:25 | 0:48:28 | |
I did! | 0:48:28 | 0:48:29 | |
I did! | 0:48:29 | 0:48:31 | |
- I did! - Mears! | 0:48:31 | 0:48:32 | |
ALARM WAILS | 0:48:32 | 0:48:34 | |
I did! | 0:48:34 | 0:48:36 | |
- Hold him! - Stop! Stop it! | 0:48:37 | 0:48:40 | |
Arnold! Arnold! | 0:48:40 | 0:48:43 | |
Where is she? | 0:48:43 | 0:48:45 | |
Where's Annie? | 0:48:46 | 0:48:48 | |
PHONE RINGS | 0:49:08 | 0:49:11 | |
Hello? | 0:49:11 | 0:49:14 | |
Nikki. | 0:49:14 | 0:49:16 | |
Where? | 0:49:16 | 0:49:17 | |
BIRDSONG | 0:49:27 | 0:49:29 | |
Go away! | 0:50:56 | 0:50:57 | |
I'm not here to hurt you. | 0:51:02 | 0:51:03 | |
Are you the police? | 0:51:03 | 0:51:05 | |
No, I'm looking for my daughter. | 0:51:07 | 0:51:09 | |
Who sent you? | 0:51:09 | 0:51:11 | |
Arnold Mears. | 0:51:13 | 0:51:15 | |
Arnold? | 0:51:16 | 0:51:19 | |
My son? | 0:51:19 | 0:51:21 | |
I tried to help him. | 0:51:24 | 0:51:26 | |
I wanted to, after what had happened to him. | 0:51:27 | 0:51:29 | |
That's why I came back. | 0:51:29 | 0:51:32 | |
You protected him. | 0:51:33 | 0:51:35 | |
It wasn't his fault. | 0:51:36 | 0:51:38 | |
Where is she? | 0:51:38 | 0:51:41 | |
She's here. | 0:51:41 | 0:51:42 | |
Where? | 0:51:42 | 0:51:44 | |
I kept her. | 0:51:44 | 0:51:46 | |
I couldn't let her go. | 0:51:47 | 0:51:49 | |
She was the last one and he...he hadn't finished with her. | 0:51:49 | 0:51:55 | |
I didn't know what else to do. | 0:51:57 | 0:51:59 | |
She was still alive! | 0:51:59 | 0:52:01 | |
- Tina! - She's all right. | 0:52:01 | 0:52:04 | |
I gave her food. Water. | 0:52:04 | 0:52:06 | |
I...I cherished her. | 0:52:06 | 0:52:08 | |
I knew one day someone would come. | 0:52:11 | 0:52:15 | |
She's waiting for you. | 0:52:22 | 0:52:24 | |
(Up there.) | 0:52:28 | 0:52:30 | |
Mum! | 0:52:50 | 0:52:52 | |
Where... | 0:52:53 | 0:52:55 | |
Tina. | 0:53:05 | 0:53:07 | |
Tina. | 0:53:14 | 0:53:16 | |
Mum! | 0:53:21 | 0:53:23 | |
Oh! | 0:53:24 | 0:53:26 | |
SHE LAUGHS | 0:53:28 | 0:53:30 | |
Mum? | 0:53:44 | 0:53:46 | |
MOBILE JINGLES | 0:53:46 | 0:53:48 | |
Tina's come back to us. | 0:53:58 | 0:54:01 | |
SHE GIGGLES | 0:54:01 | 0:54:02 | |
Mum, that's...that's not Tina. | 0:54:11 | 0:54:14 | |
Shh, shh. | 0:54:15 | 0:54:17 | |
God has sent her back to me. | 0:54:17 | 0:54:21 | |
Annie? | 0:54:39 | 0:54:42 | |
Are you OK? | 0:54:43 | 0:54:44 | |
- WOMAN: You're all right. - Mears' last victim. | 0:55:14 | 0:55:16 | |
Soon get you sorted out. | 0:55:16 | 0:55:18 | |
Hm. | 0:55:20 | 0:55:22 | |
I'm not sure it is. | 0:55:23 | 0:55:25 | |
HARRY: At least Annie's alive. | 0:55:27 | 0:55:30 | |
- LEO: Well done. - What for? | 0:55:53 | 0:55:55 | |
Mears has come clean about the remaining bodies. | 0:55:55 | 0:55:58 | |
It's over. | 0:56:00 | 0:56:02 | |
THE ALARM WAILS | 0:56:50 | 0:56:53 | |
Hold it. Stop. | 0:57:09 | 0:57:11 | |
Yeah, we got something. | 0:57:16 | 0:57:18 | |
RONSON: So, he kills Mum, | 0:58:06 | 0:58:08 | |
waits an hour or so, kills daughter, | 0:58:08 | 0:58:11 | |
and at some point finds time to knock a great big hole in the son's skull, too. | 0:58:11 | 0:58:15 | |
- Stop! Stop there! - No! | 0:58:15 | 0:58:17 | |
JOEL: Please, Kev, just let me in! | 0:58:17 | 0:58:19 | |
He's off again now. | 0:58:19 | 0:58:21 | |
He knows your body better than you do. | 0:58:21 | 0:58:23 | |
LEO: You knew Justine. | 0:58:23 | 0:58:24 | |
DEBORAH: Joel? Joel? | 0:58:24 | 0:58:26 | |
HARRY: She wasn't just left. She was arranged. | 0:58:26 | 0:58:29 | |
# Testat ore silence | 0:58:29 | 0:58:37 | |
# Vos teste se spiritu | 0:58:37 | 0:58:44 | |
# Silencio... # | 0:58:44 | 0:58:51 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:56 |