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This programme contains some violent scenes and strong language | 0:00:02 | 0:00:05 | |
There's been another murder. I have worries it's the same guy. | 0:00:05 | 0:00:06 | |
-I know where you live. -Like I've never heard that before. | 0:00:06 | 0:00:09 | |
'You think her hair's been clipped? Where?' | 0:00:13 | 0:00:16 | |
There. | 0:00:17 | 0:00:18 | |
'She has a high level of chorionic gonadotropin in her blood. | 0:00:18 | 0:00:22 | |
'I'm thinking she was pregnant.' | 0:00:22 | 0:00:24 | |
Make me SIO. | 0:00:24 | 0:00:25 | |
'This is the third murder in three months, Jim.' | 0:00:25 | 0:00:29 | |
Is this the body of your daughter Sarah Kay? | 0:00:29 | 0:00:32 | |
What are you doing?! | 0:00:32 | 0:00:34 | |
'If we don't stop him he will kill again.' | 0:00:34 | 0:00:36 | |
Excuse me? Is this your purse? | 0:00:36 | 0:00:39 | |
Oh, erm, thank you so much. | 0:00:40 | 0:00:42 | |
DOOR OPENS | 0:00:50 | 0:00:51 | |
So who are you thinking of for deputy SIOs? | 0:02:19 | 0:02:22 | |
I'm not exactly spoiled for choice. | 0:02:23 | 0:02:25 | |
Just answer. | 0:02:31 | 0:02:32 | |
Brink... | 0:02:34 | 0:02:35 | |
..and McElroy. | 0:02:38 | 0:02:40 | |
McElroy? | 0:02:40 | 0:02:42 | |
Good. That's good. | 0:02:42 | 0:02:45 | |
MOBILE PHONE RINGS | 0:02:48 | 0:02:49 | |
Burns. | 0:02:50 | 0:02:51 | |
We'll be right there. | 0:02:54 | 0:02:56 | |
There's been a fatal shooting. | 0:02:58 | 0:03:01 | |
A police officer. | 0:03:01 | 0:03:03 | |
We should get you issued with a firearm. | 0:03:03 | 0:03:05 | |
Book yourself in at the range. | 0:03:05 | 0:03:06 | |
I don't have time. | 0:03:06 | 0:03:07 | |
This is Belfast. | 0:03:07 | 0:03:10 | |
Make time. | 0:03:10 | 0:03:11 | |
I really don't want these pictures to end up in the press. | 0:04:12 | 0:04:15 | |
'The site can memorialise the account. | 0:04:15 | 0:04:18 | |
'That restricts profile access to confirmed friends and family | 0:04:18 | 0:04:20 | |
'but means people can still write on Sarah's wall in remembrance.' | 0:04:20 | 0:04:23 | |
I'd rather her father sent in a formal request as next of kin | 0:04:23 | 0:04:27 | |
and closed it down completely. | 0:04:27 | 0:04:29 | |
'Yes I understand, ma'am. I'll talk to him.' | 0:04:29 | 0:04:32 | |
Right. | 0:04:32 | 0:04:34 | |
Great, thank you. | 0:04:34 | 0:04:35 | |
I spoke to Ian Kay about Friday night's visit. | 0:04:40 | 0:04:43 | |
He understands that it was his daughter's decision not to | 0:04:43 | 0:04:47 | |
take further action, | 0:04:47 | 0:04:49 | |
so, if we can keep it out of the press I think you're in the clear. | 0:04:49 | 0:04:54 | |
Thank you, ma'am. | 0:04:57 | 0:04:58 | |
I don't know whether you know that there's been a shooting? | 0:05:02 | 0:05:05 | |
A male police officer. | 0:05:05 | 0:05:07 | |
I heard. | 0:05:07 | 0:05:09 | |
-Do you know him? -It's James Olson, ma'am. | 0:05:09 | 0:05:12 | |
The Detective we saw near the Falls Road on Sunday night. | 0:05:12 | 0:05:15 | |
What happened? | 0:05:19 | 0:05:21 | |
He was shot in the street outside his house. | 0:05:21 | 0:05:24 | |
Apparently it looks like an assassination. | 0:05:24 | 0:05:27 | |
I just wanted to say.... | 0:05:30 | 0:05:31 | |
..when I collected your things from your hotel room, | 0:05:33 | 0:05:36 | |
there were signs that you'd had company. | 0:05:36 | 0:05:40 | |
That a man had been there. | 0:05:40 | 0:05:42 | |
I wanted you to know that I removed those signs. | 0:05:43 | 0:05:46 | |
-Anything else? -No, ma'am. | 0:05:52 | 0:05:54 | |
Thank you. | 0:05:58 | 0:05:59 | |
CROWD CHATTERS | 0:06:15 | 0:06:16 | |
Mister Burns. | 0:06:18 | 0:06:20 | |
Can you confirm that it's a police officer that's been killed? | 0:06:20 | 0:06:23 | |
Has anyone claimed responsibility for the shooting? | 0:06:23 | 0:06:26 | |
Doesn't James Olson live round here? | 0:06:26 | 0:06:28 | |
Move everyone back to the corner. Seal off the entire street! | 0:06:28 | 0:06:33 | |
-Where's his family? -Inside. | 0:06:50 | 0:06:52 | |
Close this off. | 0:07:00 | 0:07:01 | |
WOMAN SOBS | 0:07:10 | 0:07:12 | |
SOBBING CONTINUES | 0:07:19 | 0:07:20 | |
-Can I call Mummy? -She's at work. | 0:07:36 | 0:07:39 | |
Why do you want to call her? | 0:07:43 | 0:07:46 | |
To say good morning. | 0:07:46 | 0:07:48 | |
OK. | 0:07:48 | 0:07:50 | |
'God so loved us that he gave himself up for us. | 0:08:11 | 0:08:14 | |
'That is the message of the Cross. | 0:08:14 | 0:08:16 | |
'The mystery of death and of glory. | 0:08:16 | 0:08:20 | |
'The cross reminds us that there is no | 0:08:20 | 0:08:22 | |
'true love without suffering, there is no gift of life without pain.' | 0:08:22 | 0:08:26 | |
'God so loved us that he gave himself up for us. | 0:08:29 | 0:08:31 | |
'That is the message of the Cross. The mystery of death and of glory. | 0:08:31 | 0:08:36 | |
'The Cross reminds us that there is no true love without suffering. | 0:08:36 | 0:08:40 | |
'There is no gift of life without pain. | 0:08:40 | 0:08:44 | |
'God so loved us that he gave himself up for us. | 0:08:44 | 0:08:46 | |
'That is the message of the Cross.' | 0:08:46 | 0:08:49 | |
REPORTER ON TV: And the funeral is on Saturday. | 0:08:49 | 0:08:51 | |
-MAN ON TV: -It's a small affair for immediate family and friends. | 0:08:51 | 0:08:54 | |
But we are also planning a memorial service to honour Alice's memory... | 0:08:54 | 0:08:59 | |
MAN MUMBLES ANGRILY | 0:08:59 | 0:09:01 | |
HE SPEAKS GERMAN | 0:09:06 | 0:09:09 | |
-There's been an accident. -Fucking accident. | 0:09:09 | 0:09:12 | |
It was an accident? | 0:09:34 | 0:09:35 | |
Go back in there, sir. Go back in inside. | 0:09:35 | 0:09:37 | |
THEY SPEAK GERMAN | 0:09:37 | 0:09:41 | |
Get some coffee down your friend, sir. | 0:09:41 | 0:09:43 | |
You're going to be OK, you're going to be OK. | 0:09:45 | 0:09:48 | |
Oh, my God! | 0:09:48 | 0:09:49 | |
It's all right, she's going to be OK. Don't get hysterical. | 0:09:49 | 0:09:51 | |
Here, take her. | 0:09:51 | 0:09:52 | |
Where the fuck are you? | 0:10:06 | 0:10:07 | |
I could do with some fucking help here. | 0:10:07 | 0:10:09 | |
DCI Matthew Eastwood. Who is this, please? | 0:10:09 | 0:10:11 | |
-PHONE: -'Your call has been forwarded to the mobile voice system...' | 0:10:20 | 0:10:24 | |
You should arrest him. | 0:10:35 | 0:10:37 | |
She must have said something. Done something. | 0:10:37 | 0:10:39 | |
She gets beaten up and it's her fault? | 0:10:40 | 0:10:42 | |
Not now, OK? | 0:10:42 | 0:10:44 | |
He's a sadistic German pig. | 0:10:44 | 0:10:45 | |
Not now! | 0:10:45 | 0:10:46 | |
SHE SPEAKS RUSSIAN | 0:10:47 | 0:10:51 | |
It's Rob Breedlove. | 0:10:51 | 0:10:53 | |
'Where are you? I've been trying to get hold of you.' | 0:10:53 | 0:10:55 | |
I was asleep. What's wrong? | 0:10:55 | 0:10:57 | |
'Then you haven't heard. It's Jimmy.' | 0:10:57 | 0:11:00 | |
'Jimmy Olson.' | 0:11:00 | 0:11:02 | |
KNOCK AT DOOR | 0:11:02 | 0:11:04 | |
Come in. | 0:11:04 | 0:11:06 | |
What the fuck's going on out there? | 0:11:11 | 0:11:12 | |
Your German friend has just beaten up another girl. | 0:11:12 | 0:11:15 | |
Badly? | 0:11:15 | 0:11:17 | |
Split her lip. Marked her face. | 0:11:17 | 0:11:19 | |
Christ. | 0:11:19 | 0:11:20 | |
Jimmy Olson's been shot dead. Right outside his home. | 0:11:21 | 0:11:25 | |
I just called him. | 0:11:25 | 0:11:26 | |
Another police officer answered his phone. | 0:11:28 | 0:11:30 | |
What phone did you use? | 0:11:30 | 0:11:31 | |
I've dealt with it. | 0:11:33 | 0:11:34 | |
Make sure you eat all your lunch. | 0:11:56 | 0:11:58 | |
I will. | 0:11:58 | 0:11:59 | |
-I put in lots of crunchy black beetles. -Yummy! | 0:11:59 | 0:12:02 | |
-I love you. -Love you, daddy. | 0:12:02 | 0:12:04 | |
Take her here. | 0:12:15 | 0:12:16 | |
Get her patched up. | 0:12:16 | 0:12:17 | |
Pick her up later on. | 0:12:18 | 0:12:20 | |
This bullshit has got to stop. | 0:12:20 | 0:12:21 | |
I thought that's what you were here for. | 0:12:21 | 0:12:23 | |
Get this place cleaned up. | 0:12:25 | 0:12:26 | |
Come on! Hurry the fuck up! | 0:12:32 | 0:12:34 | |
He drills and it's in, drills and it's in. And again. | 0:12:36 | 0:12:39 | |
No response. Where's the boys. Nobody to be seen. | 0:12:39 | 0:12:42 | |
Just keeps on going and going. That's the way it went. | 0:12:42 | 0:12:44 | |
As you may have heard, we're setting up a Task Force. | 0:12:46 | 0:12:48 | |
I'm going to need a right-hand man. | 0:12:48 | 0:12:50 | |
I'd like it to be you. | 0:12:50 | 0:12:52 | |
It would mean to start right away. No going home, no sleep. | 0:12:52 | 0:12:55 | |
OK. | 0:13:01 | 0:13:03 | |
I've been told that I need to carry a firearm, | 0:13:03 | 0:13:05 | |
so you'll need to book me in at the range. | 0:13:05 | 0:13:08 | |
Maybe tomorrow morning. | 0:13:08 | 0:13:09 | |
And I doubt I'll get back to the hotel very much. | 0:13:09 | 0:13:12 | |
I'd like to find out where the nearest pool is so I can swim. | 0:13:12 | 0:13:15 | |
Good. | 0:13:17 | 0:13:18 | |
I've been on to HQ. We have a list of operational names. | 0:13:22 | 0:13:25 | |
Eden. | 0:13:27 | 0:13:28 | |
A place where the woman gets the blame. | 0:13:28 | 0:13:30 | |
-Top Hat. -Too posh. | 0:13:30 | 0:13:32 | |
-Alamo. -Too Texan. | 0:13:32 | 0:13:34 | |
Musicman. | 0:13:34 | 0:13:35 | |
Too male. | 0:13:35 | 0:13:37 | |
Genesis. | 0:13:37 | 0:13:38 | |
My least favourite band. Well, aside from U2. | 0:13:38 | 0:13:41 | |
Hey, steady on... | 0:13:41 | 0:13:42 | |
Ashdown. | 0:13:42 | 0:13:43 | |
Too foresty. | 0:13:43 | 0:13:44 | |
What? | 0:13:44 | 0:13:45 | |
Reminds me of shallow graves. | 0:13:45 | 0:13:47 | |
Seriousity, gentlemen. | 0:13:49 | 0:13:50 | |
Good morning. | 0:14:09 | 0:14:11 | |
ALL: Morning. | 0:14:11 | 0:14:12 | |
First things first. All telephones disconnected. | 0:14:12 | 0:14:15 | |
All mobile phones switched to a silent mode or switched off. | 0:14:15 | 0:14:19 | |
Welcome to Operation Musicman. | 0:14:22 | 0:14:24 | |
MOBILE RINGS | 0:14:24 | 0:14:27 | |
Hmm? | 0:14:27 | 0:14:28 | |
Where are you? | 0:14:28 | 0:14:29 | |
Yeah, I'm here. I'm in the car park. | 0:14:29 | 0:14:31 | |
She's started. | 0:14:31 | 0:14:32 | |
All right. | 0:14:32 | 0:14:33 | |
As many of you will be aware, we have come to the conclusion | 0:14:33 | 0:14:37 | |
that the recent murders of Fiona Gallagher, Alice Parker Monroe | 0:14:37 | 0:14:41 | |
and Sarah Kay are linked... | 0:14:41 | 0:14:44 | |
..and the work of a serial offender. | 0:14:45 | 0:14:47 | |
Anyone in any doubt about the gender of the person responsible? | 0:14:47 | 0:14:51 | |
Then let's not waste our time looking for a woman. | 0:14:54 | 0:14:57 | |
I've asked my two deputies, Garrett Brink and Jerry McElroy, | 0:14:57 | 0:15:01 | |
to take responsibility for allocating | 0:15:01 | 0:15:02 | |
all the key roles within the Task Force. | 0:15:02 | 0:15:04 | |
They will also lead the debrief on the Sarah Kay murder. | 0:15:04 | 0:15:07 | |
When you hear the pathologist's report, you will learn that | 0:15:17 | 0:15:20 | |
Sarah Kay was six to seven weeks pregnant at the time of her death. | 0:15:20 | 0:15:24 | |
MOBILE PLAYS: "In Da Club" by 50 Cent | 0:15:24 | 0:15:26 | |
# Go, shawty | 0:15:26 | 0:15:27 | |
# It's your birthday | 0:15:27 | 0:15:28 | |
# We gon' party like it's your birthday | 0:15:28 | 0:15:30 | |
# We gon' sip Bacardi Like it's your birthday | 0:15:30 | 0:15:32 | |
# And you know we don't give a It's not your birthday! | 0:15:32 | 0:15:35 | |
# You can find me in the club Bottle full of bub... # | 0:15:35 | 0:15:38 | |
That fact is not to leave this room. | 0:15:38 | 0:15:41 | |
Do you think she noticed I was late? | 0:15:45 | 0:15:47 | |
I think you got away with it. | 0:15:47 | 0:15:48 | |
Good. | 0:15:48 | 0:15:50 | |
Think of it as an addiction. | 0:15:50 | 0:15:53 | |
There's a law of diminishing returns. | 0:15:53 | 0:15:56 | |
The serialist, like the heroin addict, | 0:15:56 | 0:15:58 | |
is always seeking that elusive first high, | 0:15:58 | 0:16:00 | |
and he's doomed to fail. | 0:16:02 | 0:16:03 | |
That's why the cooling off periods get shorter, | 0:16:05 | 0:16:09 | |
and the crimes become more elaborate. | 0:16:09 | 0:16:12 | |
And he will carry on feeding that killing habit... | 0:16:15 | 0:16:20 | |
..unless we stop him. | 0:16:22 | 0:16:23 | |
He clearly has a victim type. | 0:16:29 | 0:16:32 | |
They are not victims of chance, they are victims of choice. | 0:16:32 | 0:16:36 | |
They don't know him, but he knows them. | 0:16:36 | 0:16:39 | |
It's possible that he's out there stalking his next victim now. | 0:16:39 | 0:16:44 | |
He may even have a waiting list. | 0:16:44 | 0:16:45 | |
It seems that he breaks into their homes a day or two | 0:16:47 | 0:16:50 | |
before he then returns to kill them. | 0:16:50 | 0:16:52 | |
How does he find and select his victims? | 0:16:54 | 0:16:56 | |
We need to be looking at correspondences. | 0:16:58 | 0:17:00 | |
What links these three women? | 0:17:03 | 0:17:05 | |
We will be making an announcement to the press later this afternoon. | 0:17:08 | 0:17:11 | |
There's every possibility after we do that, | 0:17:11 | 0:17:13 | |
that we will be flooded with calls. | 0:17:13 | 0:17:15 | |
But all of those calls need to be captured, recorded and assessed. | 0:17:16 | 0:17:21 | |
For there are many of us gathered here today with still more to come. | 0:17:23 | 0:17:26 | |
There is only one of him. | 0:17:26 | 0:17:27 | |
You'd think that gives us the advantage. | 0:17:29 | 0:17:31 | |
But it doesn't. | 0:17:32 | 0:17:33 | |
He moves around on his own, in darkness. | 0:17:35 | 0:17:39 | |
And we operate under the glare of media lights. | 0:17:41 | 0:17:44 | |
Now let's make sure that we don't let anything | 0:17:46 | 0:17:48 | |
slip through the cracks. | 0:17:48 | 0:17:50 | |
The Devil, quite literally, ladies and gentlemen... | 0:17:50 | 0:17:53 | |
..is in the detail. | 0:17:55 | 0:17:56 | |
Detail, detail and detail again. | 0:17:57 | 0:18:01 | |
Can I help you? | 0:18:08 | 0:18:10 | |
You!! | 0:18:13 | 0:18:15 | |
Looking for someone? | 0:18:15 | 0:18:16 | |
Are you talking to me? | 0:18:20 | 0:18:22 | |
Yes, I'm taking to you. | 0:18:22 | 0:18:24 | |
What are you doing here? | 0:18:25 | 0:18:27 | |
How is that any business of yours? | 0:18:27 | 0:18:28 | |
I'm making it my business. | 0:18:28 | 0:18:30 | |
You're not from around here. | 0:18:30 | 0:18:31 | |
-So? -So what are you doing? | 0:18:33 | 0:18:35 | |
There's a name tag on the front seat. | 0:18:35 | 0:18:37 | |
Hey, that stuff is private. | 0:18:37 | 0:18:39 | |
I doubt James would be that thrilled to know | 0:18:45 | 0:18:47 | |
you're looking at his family's case files. | 0:18:47 | 0:18:49 | |
Jimmy? | 0:18:49 | 0:18:50 | |
I'm a grief counsellor. | 0:18:50 | 0:18:52 | |
He lost his son, Daniel. | 0:18:52 | 0:18:54 | |
I know he did. | 0:18:54 | 0:18:55 | |
You're on the wrong road. | 0:19:01 | 0:19:02 | |
Yeah, I realise that now. | 0:19:03 | 0:19:06 | |
Turn around and go back up there and take the next right. | 0:19:07 | 0:19:09 | |
For fuck's sake. | 0:19:56 | 0:19:57 | |
Mr Spector? | 0:20:39 | 0:20:40 | |
I was in the area. | 0:20:41 | 0:20:42 | |
I was worried you missed a session but, er, if this is a bad time? | 0:20:43 | 0:20:47 | |
No. Come on in. | 0:20:47 | 0:20:49 | |
VOICEMAIL: 'You have one new message.' | 0:21:19 | 0:21:21 | |
'Morning, Mummy. It's only me.' | 0:21:21 | 0:21:23 | |
'I'm about to leave for school.' | 0:21:24 | 0:21:26 | |
'I hope you're OK and all the babies are OK, too. Love you. Bye!' | 0:21:26 | 0:21:30 | |
When Daniel was small, I was a registered childminder. | 0:21:37 | 0:21:41 | |
They all used to play out there. | 0:21:45 | 0:21:46 | |
Daniel, and the kids I looked after. | 0:21:48 | 0:21:49 | |
When Jim went to prison they revoked my licence. | 0:21:56 | 0:21:59 | |
I've been into his room. | 0:22:06 | 0:22:07 | |
Good. | 0:22:10 | 0:22:11 | |
Would you like to see it? | 0:22:12 | 0:22:14 | |
Stella, this is Martina Dean. Martina is our Media Liaison Officer. | 0:22:18 | 0:22:23 | |
Before we start, I need a word with you in private, sir. | 0:22:23 | 0:22:25 | |
It's nothing special, is it? | 0:22:38 | 0:22:40 | |
I don't think I'll ever be able to accept what's happened. | 0:22:49 | 0:22:52 | |
You don't have to. | 0:22:56 | 0:22:57 | |
I don't subscribe to that model of grief. | 0:22:58 | 0:23:00 | |
I don't see bereavement as ever being resolved or accepted. | 0:23:02 | 0:23:06 | |
There is no closure, no recovery. | 0:23:08 | 0:23:12 | |
But you can learn to live a life | 0:23:13 | 0:23:15 | |
without the physical presence of your son. | 0:23:15 | 0:23:17 | |
That's just it. | 0:23:21 | 0:23:22 | |
I can't. | 0:23:26 | 0:23:27 | |
He would always come to me for kisses and cuddles. | 0:23:32 | 0:23:34 | |
He would always hold my hand. | 0:23:39 | 0:23:40 | |
All I want is for somebody to hold me. | 0:23:45 | 0:23:47 | |
Tell me I'm going to be all right. That I'm not going mad. | 0:23:50 | 0:23:53 | |
Would you do that? | 0:24:12 | 0:24:13 | |
What? | 0:24:15 | 0:24:17 | |
Hold me? | 0:24:17 | 0:24:18 | |
Yes. | 0:24:25 | 0:24:26 | |
He came to my hotel room. | 0:24:58 | 0:25:00 | |
When? | 0:25:00 | 0:25:01 | |
Sunday night. | 0:25:01 | 0:25:02 | |
Monday morning. | 0:25:03 | 0:25:04 | |
Why? | 0:25:06 | 0:25:07 | |
What time? | 0:25:17 | 0:25:18 | |
Between 2.30 and 4.30am. | 0:25:20 | 0:25:22 | |
About the same time that Sarah Kay was being murdered. | 0:25:24 | 0:25:26 | |
So he's on the hotel CCTV? | 0:25:29 | 0:25:30 | |
Probably. | 0:25:31 | 0:25:33 | |
Did you talk about his case? | 0:25:36 | 0:25:39 | |
Or your review? | 0:25:39 | 0:25:40 | |
No. | 0:25:42 | 0:25:43 | |
James Olson was a married man, Stella. | 0:25:48 | 0:25:50 | |
Married, two kids. | 0:25:52 | 0:25:54 | |
That's his business. | 0:25:55 | 0:25:56 | |
He wasn't wearing a ring. | 0:25:59 | 0:26:00 | |
I'm sure that'll be of some comfort to his wife when she finds out | 0:26:00 | 0:26:04 | |
that her husband spent his last night on earth in your bed! | 0:26:04 | 0:26:07 | |
You were a married man. | 0:26:09 | 0:26:10 | |
When you spent a night in my bed. | 0:26:12 | 0:26:13 | |
Am I going to regret my decision to make you head of this Task Force? | 0:26:21 | 0:26:24 | |
I hope not. | 0:26:26 | 0:26:27 | |
Did you deliberately withhold this information | 0:26:28 | 0:26:31 | |
until after the debriefing? | 0:26:31 | 0:26:32 | |
Yes. But I thought you should know before the press conference. | 0:26:32 | 0:26:35 | |
An SIO should display high levels of personal integrity. | 0:26:38 | 0:26:44 | |
Demonstrate professional, ethical and moral standards! | 0:26:45 | 0:26:50 | |
Show some self-control! | 0:26:50 | 0:26:52 | |
I wasn't SIO at the time. | 0:26:54 | 0:26:55 | |
Are you in the least bit upset that Olson is dead? | 0:27:03 | 0:27:05 | |
Shall we get Martina back in here? | 0:27:08 | 0:27:09 | |
"I know where you live?" "I know where you live?" | 0:27:25 | 0:27:28 | |
You scumbag piece of shit! | 0:27:28 | 0:27:29 | |
Did something happen to your friend? | 0:27:29 | 0:27:31 | |
-Oh, I am sorry to hear about that. -Get off me! | 0:27:31 | 0:27:33 | |
I'm a police officer, for God's sake! | 0:27:33 | 0:27:36 | |
Do wish him a speedy recovery. | 0:27:36 | 0:27:37 | |
Get off me. | 0:27:40 | 0:27:42 | |
If I find out you've been doing their dirty work for them... | 0:27:42 | 0:27:45 | |
Will you get off me! I'm a police officer, for fuck's sake! | 0:27:45 | 0:27:48 | |
We need to make it clear that Aaron Monroe is of no interest to us. | 0:27:56 | 0:27:59 | |
I don't see any mention of Aaron Monroe. | 0:28:02 | 0:28:04 | |
If it comes up. | 0:28:04 | 0:28:05 | |
There's something not right about him. | 0:28:07 | 0:28:09 | |
That's as maybe. | 0:28:09 | 0:28:10 | |
I need his father off my back. | 0:28:11 | 0:28:13 | |
We should announce that she was pregnant. | 0:28:14 | 0:28:16 | |
It seems Sarah was on a course in London seven weeks ago. | 0:28:17 | 0:28:21 | |
Hopefully the father will come forward. | 0:28:21 | 0:28:22 | |
Can we not call them professional? | 0:28:24 | 0:28:25 | |
What would you suggest? | 0:28:27 | 0:28:29 | |
Something that's less of a value judgment? | 0:28:29 | 0:28:32 | |
Highly-qualified? | 0:28:32 | 0:28:33 | |
And what about the washing and the posing? | 0:28:36 | 0:28:40 | |
The more detail we give out, | 0:28:40 | 0:28:41 | |
the more likely there are to be copycats. | 0:28:41 | 0:28:43 | |
Also, in my experience, this kind of case encourages false confessions, | 0:28:43 | 0:28:47 | |
so we need to hold things back. | 0:28:47 | 0:28:49 | |
The cutting of the hair? | 0:28:51 | 0:28:52 | |
Yes, we should mention the hair and the jewellery, | 0:28:53 | 0:28:57 | |
but not the painting of the nails. | 0:28:57 | 0:28:59 | |
Let's not refer to them as innocent. | 0:29:01 | 0:29:03 | |
They were innocent. | 0:29:03 | 0:29:04 | |
What if he kills a prostitute next? | 0:29:06 | 0:29:08 | |
Or a woman walking home drunk, late at night in a short skirt? | 0:29:08 | 0:29:12 | |
Will they be in some way less innocent, therefore less deserving? | 0:29:13 | 0:29:16 | |
Culpable? | 0:29:16 | 0:29:17 | |
The media loves to divide women into virgins and vamps, angels or whores. | 0:29:19 | 0:29:24 | |
Let's not encourage them. | 0:29:26 | 0:29:27 | |
OK. | 0:30:04 | 0:30:06 | |
Erm, good afternoon, ladies and gentlemen. | 0:30:06 | 0:30:08 | |
I am Assistant Chief Constable Burns, | 0:30:08 | 0:30:11 | |
and I would like to thank you all for coming here today. | 0:30:11 | 0:30:14 | |
CAR HORN BEEPS | 0:30:20 | 0:30:21 | |
Hello! | 0:30:30 | 0:30:31 | |
How are you, my darling? | 0:30:35 | 0:30:36 | |
Exhausted. | 0:30:36 | 0:30:37 | |
-Where are the kittens? -Come on! | 0:30:41 | 0:30:43 | |
It is for these reasons we have decided that the three murders | 0:30:44 | 0:30:48 | |
are linked, and we are seeking one individual for these crimes. | 0:30:48 | 0:30:53 | |
I met with Sarah Kay's family today and informed them | 0:30:55 | 0:30:58 | |
of all the latest findings. | 0:30:58 | 0:31:00 | |
I do, of course, offer them and the families of Fiona Gallagher | 0:31:01 | 0:31:05 | |
and Alice Parker Monroe my heartfelt condolences. | 0:31:05 | 0:31:10 | |
The members of my team are working tirelessly to provide them | 0:31:11 | 0:31:16 | |
with the answers that they require. | 0:31:16 | 0:31:18 | |
Why were these women killed and who is responsible? | 0:31:19 | 0:31:23 | |
They're so lovely. Have they got names? | 0:31:24 | 0:31:28 | |
-Not yet. -Can I pick one up? -If you're gentle. | 0:31:28 | 0:31:31 | |
Hey, Daddy. | 0:31:33 | 0:31:35 | |
John. Did I see a new quad bike outside? | 0:31:38 | 0:31:40 | |
You did. | 0:31:40 | 0:31:41 | |
Do you want to go on the quad bike? OK. | 0:31:43 | 0:31:44 | |
Hey, take Olivia. | 0:31:47 | 0:31:48 | |
She's playing with the kittens. | 0:31:48 | 0:31:49 | |
Yeah, but she's the eldest. You've got to put her first sometimes. | 0:31:49 | 0:31:53 | |
Mary Otwin, BBC News. Who discovered the body? | 0:31:59 | 0:32:02 | |
Her sister, Marion. | 0:32:02 | 0:32:04 | |
Were there any signs of a sexual assault? | 0:32:04 | 0:32:07 | |
Er, that's not something | 0:32:07 | 0:32:08 | |
I would like to disclose at this stage of the investigation. | 0:32:08 | 0:32:10 | |
Alison O'Brien, TVNI. | 0:32:10 | 0:32:12 | |
Were the three victims known to each other? | 0:32:12 | 0:32:14 | |
That is a line of enquiry that we are actively pursuing. | 0:32:14 | 0:32:17 | |
Was Sarah Kay clothed when she was found? | 0:32:17 | 0:32:20 | |
No, she was unclothed. | 0:32:20 | 0:32:22 | |
Ned Callan, Belfast Chronicle. | 0:32:23 | 0:32:24 | |
Has the review that you were conducting into the death | 0:32:24 | 0:32:27 | |
of Alice Monroe been suspended? | 0:32:27 | 0:32:28 | |
Yes, it has. | 0:32:28 | 0:32:29 | |
Were you the first person to link the three murders? | 0:32:29 | 0:32:32 | |
I did discern a link between the murders, | 0:32:32 | 0:32:33 | |
and then discussed them internally with other PSNI officers. | 0:32:33 | 0:32:38 | |
Were the independent murder enquiries conducted into the deaths | 0:32:38 | 0:32:40 | |
of Fiona Gallagher and Alice Monroe adequate, in your view? | 0:32:40 | 0:32:43 | |
I think there is no doubt that the best way to advance the enquiries | 0:32:44 | 0:32:48 | |
into these three tragic murders is to view them as related | 0:32:48 | 0:32:52 | |
and to proceed accordingly. | 0:32:52 | 0:32:54 | |
Can you explain why neighbours report seeing a police patrol car | 0:32:54 | 0:32:58 | |
outside the most recent victim's house on the Friday evening | 0:32:58 | 0:33:00 | |
before the murder took place... | 0:33:00 | 0:33:02 | |
Mr Callan, we've only got a few minutes left | 0:33:02 | 0:33:04 | |
and there are a lot of other hands raised, so... | 0:33:04 | 0:33:07 | |
Fucking hell! | 0:33:08 | 0:33:10 | |
Well done for spotting the wardrobe malfunction. | 0:33:14 | 0:33:17 | |
-Cleavage? -Just chest. | 0:33:17 | 0:33:18 | |
Daddy, I want to go back. | 0:34:13 | 0:34:15 | |
Wait a minute. | 0:34:18 | 0:34:19 | |
I don't want to go in there. | 0:34:27 | 0:34:29 | |
Wait a second, OK? wait for Daddy. | 0:34:30 | 0:34:32 | |
Daddy! | 0:34:48 | 0:34:50 | |
Daddy! I need a wee! | 0:35:01 | 0:35:03 | |
I'm going to tell Mummy! | 0:35:15 | 0:35:17 | |
I'm freezing, Daddy! | 0:35:28 | 0:35:29 | |
Daddy! | 0:35:35 | 0:35:37 | |
Mum suggests we stay a day or two. | 0:36:12 | 0:36:15 | |
I can't. I've got some work to do before tomorrow. | 0:36:15 | 0:36:18 | |
We could stay, I guess. | 0:36:21 | 0:36:23 | |
Dad could run the kids to school in the morning, drop me off. | 0:36:24 | 0:36:27 | |
Mum's offered Olivia one of the kittens. | 0:36:34 | 0:36:37 | |
What a surprise(!) | 0:36:37 | 0:36:39 | |
Can she have one? | 0:36:39 | 0:36:40 | |
Kittens turn into cats. Cats kill the birds. | 0:36:40 | 0:36:44 | |
We could put it in a collar. With a bell. | 0:36:44 | 0:36:46 | |
'..decided that the three murders are linked, | 0:38:10 | 0:38:13 | |
'and we are actively seeking one individual for these crimes.' | 0:38:14 | 0:38:19 | |
'That was Detective Superintendent Gibson speaking | 0:38:19 | 0:38:23 | |
'at a press conference earlier today.' | 0:38:23 | 0:38:25 | |
'The three murder victims, Fiona Gallagher, Alison Monroe | 0:38:25 | 0:38:28 | |
'and Sarah Kay, were all professional women | 0:38:28 | 0:38:30 | |
'in their early thirties, killed by strangulation in their own homes. | 0:38:30 | 0:38:34 | |
'Superintendent Gibson made this appeal.' | 0:38:34 | 0:38:37 | |
'I would ask that anyone out there today, who has any information | 0:38:37 | 0:38:42 | |
'whatsoever, to please step forward and speak to us. | 0:38:42 | 0:38:47 | |
'They can call on the Operation Musicman incident phone...' | 0:38:47 | 0:38:51 | |
Aaaaah! Mummy! | 0:39:09 | 0:39:13 | |
Mummy! | 0:39:26 | 0:39:28 | |
You didn't tell me this was still happening. | 0:39:28 | 0:39:30 | |
Sssh. It's OK. | 0:40:01 | 0:40:03 | |
She shouldn't have that necklace on in bed, should she? | 0:40:06 | 0:40:09 | |
Why? | 0:40:09 | 0:40:10 | |
She could strangle herself. | 0:40:10 | 0:40:11 | |
Here, take a wee drink, sweetheart. There you go. That's it. | 0:40:13 | 0:40:17 | |
Where did she get it? | 0:40:17 | 0:40:18 | |
Paul gave it to her. Why do you ask? | 0:40:18 | 0:40:20 | |
Oh, just looks like an odd choice for a little girl. | 0:40:20 | 0:40:23 | |
She loves it. | 0:40:23 | 0:40:25 | |
There, OK, that's it. | 0:40:25 | 0:40:29 | |
Sssh, good girl. | 0:40:29 | 0:40:31 | |
Good girl. | 0:40:32 | 0:40:34 | |
What do you think you dreamt about this time? | 0:42:05 | 0:42:06 | |
It's not a dream. | 0:42:06 | 0:42:08 | |
Well, what do you think you saw that upset you? | 0:42:08 | 0:42:11 | |
-A lady. -What lady? | 0:42:11 | 0:42:15 | |
A lady with no clothes on. | 0:42:15 | 0:42:17 | |
There is no lady, darling. | 0:42:17 | 0:42:19 | |
There is at home. | 0:42:21 | 0:42:22 | |
What? | 0:42:24 | 0:42:25 | |
I've seen a lady at home. | 0:42:27 | 0:42:29 | |
Where? | 0:42:30 | 0:42:32 | |
Upstairs. | 0:42:32 | 0:42:33 | |
Where upstairs? | 0:42:34 | 0:42:35 | |
Upstairs in the ceiling. | 0:42:37 | 0:42:39 | |
What do you mean? | 0:42:40 | 0:42:41 | |
Above my bedroom. | 0:42:43 | 0:42:45 | |
It's OK. | 0:42:47 | 0:42:48 | |
RADIO: 'Police this evening have revealed that murdered solicitor | 0:43:10 | 0:43:13 | |
'Sarah Kay was pregnant at the time of her death. | 0:43:13 | 0:43:16 | |
'Family members believe it is possible | 0:43:16 | 0:43:18 | |
'Sarah was herself unaware of her pregnancy. | 0:43:18 | 0:43:21 | |
'Police have appealed to anyone involved in an intimate relationship | 0:43:21 | 0:43:24 | |
'with her in the last two months to come forward | 0:43:24 | 0:43:27 | |
'to help the police with their enquiries. | 0:43:27 | 0:43:29 | |
'Detective Superintendent Gibson, | 0:43:29 | 0:43:31 | |
'who is leading the investigation into the murder of Sarah Kay, | 0:43:31 | 0:43:34 | |
'which was today linked to two other recent murders in Belfast, | 0:43:34 | 0:43:37 | |
'refused to comment on whether the killer, if caught, | 0:43:37 | 0:43:40 | |
'would face charges of child destruction.' | 0:43:40 | 0:43:43 | |
KNOCK AT DOOR | 0:45:06 | 0:45:09 | |
I know you're in there. Open the door! | 0:45:09 | 0:45:11 | |
Open the door, or I'll fucking kick it in! | 0:45:14 | 0:45:16 | |
I know you're in there! | 0:45:19 | 0:45:20 | |
Jimmy, what are you doing here? | 0:45:30 | 0:45:31 | |
Who the hell do you think you are? | 0:45:32 | 0:45:34 | |
Telling people on my street that I'm in fucking therapy? | 0:45:34 | 0:45:37 | |
Calling to my house when I'm not there? Sniffing round my wife? | 0:45:37 | 0:45:42 | |
I didn't say anything to anyone about therapy. | 0:45:42 | 0:45:44 | |
Then how come the whole fucking world knows? | 0:45:44 | 0:45:46 | |
Not from me. | 0:45:46 | 0:45:47 | |
Bullshit. | 0:45:47 | 0:45:49 | |
You had your Jewboy ID hanging off your fucking neck. | 0:45:49 | 0:45:51 | |
Liz needs help, Jimmy, can you not see that? | 0:45:51 | 0:45:54 | |
Not from you, she doesn't. | 0:45:54 | 0:45:55 | |
I saw the bruises, Jimmy. | 0:45:56 | 0:45:58 | |
You stay away from my wife. | 0:46:04 | 0:46:06 | |
Or I'll fucking kill you. | 0:46:09 | 0:46:11 | |
And your wife. | 0:46:11 | 0:46:12 | |
And your kids. | 0:46:13 | 0:46:14 | |
Stella? | 0:46:42 | 0:46:43 | |
I wondered if you had the test screen results on Sarah Kay? | 0:46:45 | 0:46:49 | |
I sent them through. | 0:46:49 | 0:46:50 | |
Did you do the autopsy on James Olson? | 0:46:52 | 0:46:55 | |
Yes, I did. I've just been talking to his wife. | 0:46:55 | 0:46:58 | |
Actually, do you have a minute? | 0:46:58 | 0:47:00 | |
There's something that might interest you. | 0:47:00 | 0:47:02 | |
Yeah. | 0:47:02 | 0:47:03 | |
Ever seen anything like this? | 0:47:12 | 0:47:14 | |
Jesus. | 0:47:16 | 0:47:17 | |
Seven spent bullets in his body, three in his head. | 0:47:17 | 0:47:20 | |
How's it going, Jerry? | 0:48:28 | 0:48:30 | |
We're swamped with phone calls, as you predicted. | 0:48:30 | 0:48:32 | |
Women turning in their boyfriends, brothers, sons. | 0:48:32 | 0:48:35 | |
It is a husband, boyfriend, brother or a son we're looking for. | 0:48:36 | 0:48:39 | |
Yes, ma'am. | 0:48:39 | 0:48:40 | |
The press got hold of those photographs of Sarah Kay. | 0:48:44 | 0:48:46 | |
DCI Eastwood's in your office, ma'am. | 0:48:50 | 0:48:52 | |
I've spoken with Assistant Chief Constable Burns. | 0:49:02 | 0:49:05 | |
He tells me that Detective Sergeant Olson visited you | 0:49:06 | 0:49:09 | |
in your hotel room in the early hours of Monday morning? | 0:49:09 | 0:49:11 | |
That's correct. | 0:49:11 | 0:49:13 | |
Can you tell me the purpose of that visit? | 0:49:13 | 0:49:15 | |
Sexual intercourse. | 0:49:16 | 0:49:17 | |
How long was DS Olson with you? | 0:49:22 | 0:49:24 | |
Two, two and a half hours. | 0:49:24 | 0:49:26 | |
Did you converse at all? | 0:49:26 | 0:49:30 | |
Very little. | 0:49:30 | 0:49:31 | |
What was his state of mind, would you say? | 0:49:33 | 0:49:35 | |
He seemed fine. | 0:49:35 | 0:49:37 | |
-Not preoccupied, worried? -No. | 0:49:37 | 0:49:39 | |
We retrieved two phones from Sergeant Olson's body. | 0:49:43 | 0:49:47 | |
One a contract phone, the other an unregistered pay-as-you-go. | 0:49:47 | 0:49:50 | |
Does your number feature on that list? | 0:49:51 | 0:49:53 | |
Yes. | 0:49:55 | 0:49:57 | |
Mark the calls for me. | 0:49:57 | 0:49:58 | |
Two of these are media messages. | 0:50:25 | 0:50:26 | |
-Can you tell me what he sent you? -I didn't open them. | 0:50:28 | 0:50:30 | |
Why? | 0:50:30 | 0:50:32 | |
I didn't want to. | 0:50:32 | 0:50:33 | |
Because he was a married man? | 0:50:34 | 0:50:35 | |
I didn't know that at the time. | 0:50:35 | 0:50:37 | |
But you didn't think to ask? | 0:50:37 | 0:50:38 | |
He didn't think to tell me. | 0:50:38 | 0:50:39 | |
I know nothing that will help you with your enquiry, | 0:50:43 | 0:50:45 | |
and I have a lot work to do. | 0:50:45 | 0:50:48 | |
When did you first meet Sergeant Olson? | 0:50:59 | 0:51:02 | |
That's what really bothers you, isn't it? | 0:51:03 | 0:51:05 | |
The one night stand. | 0:51:06 | 0:51:08 | |
Man fucks woman. | 0:51:09 | 0:51:11 | |
Subject man, verb fucks, object woman. That's OK. | 0:51:11 | 0:51:15 | |
Woman fucks man. | 0:51:17 | 0:51:18 | |
Woman subject, man object. | 0:51:19 | 0:51:22 | |
That's not so comfortable for you, is it? | 0:51:24 | 0:51:25 | |
OK, here's where I'm at with this guy. | 0:51:51 | 0:51:53 | |
There's an athleticism to these crimes | 0:51:54 | 0:51:57 | |
that suggests that he's a young man. | 0:51:57 | 0:51:59 | |
Sarah Kay was 65 inches tall and weighed 112 pounds. | 0:52:01 | 0:52:06 | |
The same as a sack of cement | 0:52:06 | 0:52:07 | |
and he's picking her up and moving her around. | 0:52:07 | 0:52:10 | |
With no signs on the heels of dragging. | 0:52:10 | 0:52:12 | |
So he's lifting her. He's strong. | 0:52:12 | 0:52:14 | |
Fiona Gallagher may have been his first kill, | 0:52:16 | 0:52:19 | |
but I doubt she was his first attack. | 0:52:19 | 0:52:21 | |
There's a progression. | 0:52:23 | 0:52:24 | |
An increased level of criminal sophistication that suggests | 0:52:24 | 0:52:29 | |
that he understands police work and he knows criminology. | 0:52:29 | 0:52:34 | |
As such, I would put his age at mid-20s to mid-30s. | 0:52:36 | 0:52:40 | |
And he's intelligent. | 0:52:42 | 0:52:44 | |
Even highly intelligent. | 0:52:46 | 0:52:48 | |
Well, that will go with the psychological | 0:52:48 | 0:52:49 | |
rather than the physical torture. | 0:52:49 | 0:52:51 | |
Maybe lower-paid white collar. | 0:52:52 | 0:52:55 | |
Quasi-professional. | 0:52:55 | 0:52:56 | |
Less qualified than these women. | 0:52:57 | 0:53:00 | |
Perhaps he's an underachiever, or at least in his own eyes, | 0:53:00 | 0:53:05 | |
and he selects victims that he feels inferior to | 0:53:05 | 0:53:08 | |
and then dominates and humiliates them. | 0:53:08 | 0:53:11 | |
So he hates women who occupy powerful positions? | 0:53:11 | 0:53:14 | |
Don't we all? | 0:53:14 | 0:53:15 | |
So why the washing? | 0:53:24 | 0:53:26 | |
He likes a clean scene. | 0:53:26 | 0:53:28 | |
Victims of strangulation mess themselves. | 0:53:28 | 0:53:31 | |
But the washing is more than that, isn't it? | 0:53:31 | 0:53:33 | |
It's more than cleaning up, more than destroying evidence. | 0:53:34 | 0:53:37 | |
He needs them clean for the posing. | 0:53:47 | 0:53:49 | |
Does he wash them in the bath? | 0:53:50 | 0:53:52 | |
Does he get in with them? | 0:53:53 | 0:53:54 | |
-Bathe with them? -Maybe. | 0:53:56 | 0:53:57 | |
Cleans himself, too. | 0:53:58 | 0:53:59 | |
Are you thinking there's a religious dimension? | 0:54:00 | 0:54:03 | |
-What do you mean? -Purifying. | 0:54:03 | 0:54:06 | |
Washing away their sins, his sins, I don't know. | 0:54:06 | 0:54:09 | |
What kind of sexual release is he getting at the scene? | 0:54:15 | 0:54:18 | |
Well, masturbate, I guess. | 0:54:18 | 0:54:19 | |
There's no ejaculate at the scene. | 0:54:20 | 0:54:23 | |
Into a condom? | 0:54:23 | 0:54:25 | |
There's no sign of damage, anal or vaginal. | 0:54:25 | 0:54:27 | |
Well, he could be having post-mortem intercourse that's not violent. | 0:54:27 | 0:54:31 | |
For me, the sexual release comes afterwards. | 0:54:31 | 0:54:35 | |
When he's on his own. | 0:54:36 | 0:54:37 | |
It's all part of the fantasy. | 0:54:40 | 0:54:41 | |
The fantasy that sustains him between killings. | 0:54:41 | 0:54:44 | |
It's about power, and control. | 0:54:54 | 0:54:55 | |
And the thrill. | 0:54:57 | 0:54:58 | |
It thrills him to stalk these women. | 0:55:01 | 0:55:03 | |
To break into their houses, to take their underwear. | 0:55:07 | 0:55:11 | |
It's about intimacy. | 0:55:27 | 0:55:28 | |
What could be more intimate than... | 0:55:33 | 0:55:35 | |
..squeezing the life from another human being? | 0:55:36 | 0:55:39 | |
Having their dead body at your disposal. | 0:55:43 | 0:55:45 | |
We've all seen more degrading crime scenes. | 0:56:03 | 0:56:06 | |
Bodies with objects left inside them. | 0:56:08 | 0:56:10 | |
This is different. | 0:56:13 | 0:56:15 | |
It's like an art form to him. | 0:56:25 | 0:56:26 | |
I'm certain he takes photographs. | 0:56:43 | 0:56:44 | |
After they're dead. | 0:56:48 | 0:56:49 | |
They're playthings to him. | 0:56:51 | 0:56:53 | |
He treats them like objects. He paints their nails. | 0:56:54 | 0:56:57 | |
He uses them like dolls. | 0:57:01 | 0:57:02 | |
He's creating his own pornography. | 0:57:32 | 0:57:33 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:55 |