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This programme contains some violent scenes from the start, | 0:00:02 | 0:00:07 | |
some strong language and scenes which some viewers may find disturbing | 0:00:07 | 0:00:13 | |
I'd like you to meet the girls of Monroe Air. | 0:00:13 | 0:00:16 | |
It was an accident. | 0:00:18 | 0:00:20 | |
All I want is for somebody to hold me. | 0:00:20 | 0:00:23 | |
Tell me I'm going to be all right. | 0:00:23 | 0:00:25 | |
Liz needs help, Jimmy. | 0:00:25 | 0:00:26 | |
You stay away from my wife. Or I'll kill you. | 0:00:26 | 0:00:29 | |
And your wife. And your kids. | 0:00:29 | 0:00:30 | |
He clearly has a victim type. | 0:00:32 | 0:00:34 | |
They are not victims of chance, they are victims of choice. | 0:00:34 | 0:00:37 | |
It's possible that he's out there stalking his next victim now. | 0:00:37 | 0:00:40 | |
'It is with great sorrow and regret that I can confirm the identity | 0:00:50 | 0:00:53 | |
'of the officer killed in the line of duty | 0:00:53 | 0:00:56 | |
'on Monday in North Belfast.' | 0:00:56 | 0:00:59 | |
'Detective Sergeant James Olson | 0:00:59 | 0:01:01 | |
'was a dedicated and hard-working policeman, | 0:01:01 | 0:01:04 | |
'liked and respected by his colleagues.' | 0:01:04 | 0:01:07 | |
'Just 31 years old, | 0:01:07 | 0:01:09 | |
'he leaves behind a wife and two small children.' | 0:01:09 | 0:01:13 | |
'On behalf of all the law-abiding citizens of Northern Ireland, | 0:01:13 | 0:01:16 | |
'I wish to offer my deep condolences | 0:01:16 | 0:01:18 | |
'to his family, his friends and his colleagues.' | 0:01:18 | 0:01:22 | |
Dani? | 0:02:02 | 0:02:03 | |
'Yes, ma'am?' | 0:02:03 | 0:02:04 | |
I've got the lab report back on the varnish that was used | 0:02:04 | 0:02:07 | |
on Sarah Kay's finger and toenails. | 0:02:07 | 0:02:09 | |
It's called Jezebel Red. It's by Connell. | 0:02:09 | 0:02:11 | |
Part of their Painted Lady range. | 0:02:11 | 0:02:13 | |
Sold everywhere, unfortunately. | 0:02:13 | 0:02:14 | |
'Right.' | 0:02:16 | 0:02:17 | |
Can you get me some? | 0:02:17 | 0:02:18 | |
The shops aren't open yet. | 0:02:20 | 0:02:22 | |
You'll think of something. | 0:02:22 | 0:02:24 | |
Daddy! | 0:02:37 | 0:02:38 | |
Hey. | 0:02:38 | 0:02:39 | |
Yeugh, you're sweaty! | 0:02:42 | 0:02:44 | |
I thought you were at work. | 0:02:44 | 0:02:46 | |
I got back early, went for a run. | 0:02:46 | 0:02:48 | |
Instead of being here to help me with the kids. | 0:02:48 | 0:02:50 | |
Must be nice to have all that energy to burn. | 0:02:51 | 0:02:54 | |
Get your things. It's time to go. | 0:02:56 | 0:02:57 | |
Liam. | 0:02:59 | 0:03:00 | |
Here. | 0:03:00 | 0:03:01 | |
Right, I'm leaving now. > | 0:03:08 | 0:03:09 | |
If anyone's coming with me, they'd better hurry up. > | 0:03:09 | 0:03:11 | |
SHE MOUTHS | 0:03:11 | 0:03:13 | |
-Bye, Pops. -Bye. | 0:03:16 | 0:03:18 | |
I took a call on Olson's phone the morning after the shooting | 0:04:28 | 0:04:31 | |
from an unregistered mobile number. | 0:04:31 | 0:04:32 | |
The number subsequently went dead. | 0:04:32 | 0:04:35 | |
The call came from somewhere inside this hotel. We checked the register. | 0:04:35 | 0:04:39 | |
A suite was booked in the name of Belfast Events Limited. | 0:04:39 | 0:04:42 | |
Company director, Aaron Monroe. | 0:04:42 | 0:04:45 | |
This is the next morning. | 0:04:48 | 0:04:50 | |
Breedlove with one of the girls. | 0:04:51 | 0:04:54 | |
The suite has been cleaned at least twice since then. | 0:04:54 | 0:04:56 | |
But we still found traces of Class A drugs and blood. | 0:04:56 | 0:05:00 | |
These two were picked up an hour or so later by Morgan Monroe's driver. | 0:05:00 | 0:05:05 | |
Both Rossmeisl and Lang | 0:05:06 | 0:05:09 | |
have made substantial contributions to the Alice Monroe Fund. | 0:05:09 | 0:05:12 | |
How do Breedlove and Olson fit into this? | 0:05:21 | 0:05:25 | |
Back in the day, | 0:05:25 | 0:05:26 | |
Breedlove was Morgan Monroe's close protection officer. | 0:05:26 | 0:05:29 | |
He might have been there moonlighting, providing security. | 0:05:29 | 0:05:31 | |
He might have been there to supply them with the drugs, | 0:05:34 | 0:05:36 | |
and/or the girls. | 0:05:36 | 0:05:37 | |
Olson, I'm not sure. | 0:05:39 | 0:05:40 | |
It's starting to look like my praise for a dear departed colleague | 0:05:42 | 0:05:45 | |
was fabulously premature. | 0:05:45 | 0:05:47 | |
We have a facility on Breedlove's phone. | 0:05:48 | 0:05:51 | |
He put in a call to Aaron Monroe this morning. | 0:05:51 | 0:05:53 | |
He seems to have some concerns | 0:05:54 | 0:05:55 | |
that he might meet the same fate as Olson. | 0:05:55 | 0:05:57 | |
Looking at this girl's face, | 0:06:00 | 0:06:02 | |
if she's badly injured, that's a loss of earnings right there. | 0:06:02 | 0:06:05 | |
These girls make ten grand a week easily. | 0:06:05 | 0:06:08 | |
Breedlove seemed to be suggesting that this has happened before. | 0:06:08 | 0:06:12 | |
Talked about making a payment of 30 grand to someone called "Mirko". | 0:06:12 | 0:06:15 | |
The girls flew into Dublin from Heathrow. Then came north by road. | 0:06:17 | 0:06:20 | |
I'm making inquiries with the Met. | 0:06:20 | 0:06:22 | |
-Bring him in. -Breedlove? | 0:06:27 | 0:06:29 | |
Bring him in. | 0:06:29 | 0:06:30 | |
Paul. | 0:06:39 | 0:06:41 | |
Paul? | 0:06:41 | 0:06:42 | |
Paul! | 0:06:44 | 0:06:45 | |
Did you not hear me calling you? | 0:06:52 | 0:06:53 | |
When, Charles? | 0:06:53 | 0:06:55 | |
You just passed me in the corridor. | 0:06:55 | 0:06:57 | |
Did I? I didn't see you. | 0:06:57 | 0:06:58 | |
I have an appointment. | 0:07:05 | 0:07:06 | |
And I've just had James Tyler in here this morning. | 0:07:06 | 0:07:09 | |
To say he was angry would be a considerable understatement. | 0:07:10 | 0:07:12 | |
He says you made an unscheduled house call on his wife. | 0:07:14 | 0:07:17 | |
When she was home alone. | 0:07:17 | 0:07:18 | |
It wasn't unscheduled. She called. | 0:07:20 | 0:07:22 | |
Very upset. | 0:07:22 | 0:07:23 | |
Why didn't you have an appointment here? | 0:07:23 | 0:07:25 | |
You know he beats her? She was black and blue. | 0:07:25 | 0:07:28 | |
Then you report it to the police. There are protocols, | 0:07:28 | 0:07:32 | |
that you seem to think you can ignore with impunity. | 0:07:32 | 0:07:34 | |
Anyway, she has an appointment. She's coming in today. | 0:07:34 | 0:07:37 | |
It's not in the diary. | 0:07:38 | 0:07:40 | |
I need to make a phone call to confirm. | 0:07:40 | 0:07:42 | |
Did you talk to any of the local residents when you were there? | 0:07:44 | 0:07:47 | |
Discuss Mr Tyler's personal business with them? | 0:07:47 | 0:07:49 | |
Does that seem likely? | 0:07:51 | 0:07:52 | |
I don't know. | 0:07:52 | 0:07:54 | |
You tell me. | 0:07:54 | 0:07:55 | |
I asked for some directions. | 0:07:56 | 0:07:58 | |
Maybe they saw my name tag. | 0:07:58 | 0:08:00 | |
You can bet your life they did. This is Shankill, Paul. | 0:08:00 | 0:08:02 | |
Not some place you can come and go willy-nilly without being noticed. | 0:08:02 | 0:08:05 | |
-"Willy-nilly"? -You know what I mean. | 0:08:06 | 0:08:08 | |
I'd like to talk to Mrs Tyler when she comes in. | 0:08:16 | 0:08:18 | |
PHONE RINGS | 0:08:24 | 0:08:25 | |
'Detective Inspector Breedlove?' | 0:08:34 | 0:08:36 | |
Speaking. | 0:08:36 | 0:08:37 | |
'It's DCI Eastwood.' | 0:08:37 | 0:08:38 | |
'I'd like to have a talk with you, Rob.' | 0:08:38 | 0:08:40 | |
When? | 0:08:41 | 0:08:42 | |
'Right away, if possible.' | 0:08:42 | 0:08:44 | |
What about? | 0:08:47 | 0:08:48 | |
'I think you might be able to help me clarify some issues | 0:08:48 | 0:08:51 | |
'surrounding the murder of James Olson.' | 0:08:51 | 0:08:53 | |
'I'd appreciate your help.' | 0:08:53 | 0:08:55 | |
I'll come in. | 0:08:59 | 0:09:01 | |
I have to go. | 0:09:12 | 0:09:13 | |
Don't be long. | 0:09:17 | 0:09:18 | |
They're Mosuo women. | 0:10:16 | 0:10:17 | |
They're a small ethnic group living in China on the border with Tibet. | 0:10:18 | 0:10:22 | |
They're a matriarchal society. Well, matrilineal. | 0:10:22 | 0:10:27 | |
They don't practise traditional marriage, no husbands and wives. | 0:10:27 | 0:10:30 | |
They practise what's called walking marriage. | 0:10:31 | 0:10:34 | |
The partners live in different households. | 0:10:35 | 0:10:37 | |
I'm simplifying. | 0:10:39 | 0:10:40 | |
One of Sarah Kay's work colleagues said she talked about them | 0:10:42 | 0:10:45 | |
at the bar on the night that she called you to the house. | 0:10:45 | 0:10:48 | |
Drinking wine with her friends suggests to me | 0:10:49 | 0:10:51 | |
that she didn't know that she was pregnant. | 0:10:51 | 0:10:53 | |
And she didn't tell any of her family | 0:10:54 | 0:10:56 | |
and no-one's come forward to say that they're the father. | 0:10:56 | 0:11:00 | |
So I thought maybe it was just a sweet night. | 0:11:00 | 0:11:02 | |
What's that? | 0:11:04 | 0:11:05 | |
It's what the Mosuo women call secret visits | 0:11:06 | 0:11:09 | |
when a woman asks a man to spend the night and then leave in the morning. | 0:11:09 | 0:11:12 | |
How do you know so much about it? | 0:11:14 | 0:11:17 | |
It's not a secret. | 0:11:17 | 0:11:18 | |
My first degree was in Anthropology. | 0:11:22 | 0:11:24 | |
You're FIRST degree? | 0:11:24 | 0:11:26 | |
Umm. I have hundreds. | 0:11:26 | 0:11:27 | |
I need you to come in. | 0:11:30 | 0:11:32 | |
'I can't.' | 0:11:32 | 0:11:33 | |
Liz, I shouldn't have called on you at home like that. | 0:11:34 | 0:11:37 | |
It's against the rules. | 0:11:38 | 0:11:39 | |
My job is on the line. | 0:11:41 | 0:11:42 | |
Jimmy needn't know. | 0:11:44 | 0:11:45 | |
I just want you to come in. This afternoon. | 0:11:47 | 0:11:49 | |
'I can't.' | 0:11:51 | 0:11:52 | |
Why? | 0:11:53 | 0:11:54 | |
'I don't want to see anyone at the moment.' | 0:11:56 | 0:11:58 | |
Put on a headscarf and some dark glasses. | 0:12:01 | 0:12:05 | |
You'll look like Sophia Loren. | 0:12:05 | 0:12:07 | |
'Who's she?' | 0:12:07 | 0:12:08 | |
You asked me to hold you, Liz. | 0:12:12 | 0:12:13 | |
And I held you. | 0:12:15 | 0:12:16 | |
Now I'm asking you to do this for me. | 0:12:18 | 0:12:20 | |
DOOR BUZZES | 0:13:05 | 0:13:06 | |
Rob. | 0:13:12 | 0:13:14 | |
Come on through. | 0:13:14 | 0:13:15 | |
Do you want kids? | 0:13:22 | 0:13:23 | |
Maybe, one day. | 0:13:25 | 0:13:27 | |
Do you have a man? | 0:13:29 | 0:13:30 | |
A man? | 0:13:30 | 0:13:32 | |
No. | 0:13:33 | 0:13:34 | |
I'm gay. | 0:13:41 | 0:13:42 | |
The neighbours report hearing a hairdryer | 0:13:46 | 0:13:48 | |
in the early hours of the morning. | 0:13:48 | 0:13:50 | |
Perhaps he was drying her body? | 0:13:51 | 0:13:53 | |
Perhaps he was drying the nails. | 0:13:57 | 0:13:59 | |
Where were you when I called you? | 0:14:14 | 0:14:16 | |
At the Olsons'. | 0:14:16 | 0:14:17 | |
How are they? Are they bearing up? | 0:14:17 | 0:14:20 | |
I don't think it's really sunk in yet. | 0:14:20 | 0:14:22 | |
Your phone records show a lot of calls to the Olson home number. | 0:14:22 | 0:14:26 | |
You've pulled my phone records? | 0:14:29 | 0:14:31 | |
Why so many calls? | 0:14:31 | 0:14:32 | |
He was my partner. My friend. | 0:14:34 | 0:14:36 | |
A high proportion of those calls were at times Olson was at work. | 0:14:39 | 0:14:42 | |
Often at work with you. | 0:14:44 | 0:14:45 | |
Were those calls made to Vicky? | 0:14:48 | 0:14:49 | |
-Do you know why he joined the police force? -I don't. | 0:14:54 | 0:14:56 | |
That bomb in '87. He lost his father. | 0:14:58 | 0:15:01 | |
Would have been six at the time, same age. | 0:15:02 | 0:15:05 | |
I don't remember the name Olson. | 0:15:05 | 0:15:06 | |
His mother remarried. | 0:15:06 | 0:15:08 | |
It was me called his phone that morning, when you answered. | 0:15:13 | 0:15:16 | |
OK, Robbie. Be careful what you say now. | 0:15:16 | 0:15:19 | |
I had no idea he was already dead. You have to believe me. | 0:15:19 | 0:15:22 | |
You should take legal advice before you say anything more. | 0:15:22 | 0:15:25 | |
Gunned down in the street in front of his son. Fucking shitbags. | 0:15:25 | 0:15:29 | |
Who? | 0:15:30 | 0:15:32 | |
Who's a shitbag? McInturff? | 0:15:32 | 0:15:33 | |
Yes, McInturff! | 0:15:33 | 0:15:35 | |
Do you really believe that? | 0:15:37 | 0:15:39 | |
Or was your outburst at the station all for show? | 0:15:39 | 0:15:41 | |
-Have you had someone following me? -No. | 0:15:45 | 0:15:47 | |
Cos there was a car on my tail coming here just now. | 0:15:47 | 0:15:49 | |
-Nothing to do with me. -You swear? | 0:15:49 | 0:15:52 | |
I swear. | 0:15:52 | 0:15:53 | |
I'm going to have to caution you, Rob. | 0:15:59 | 0:16:01 | |
What are you doing, arresting me? | 0:16:01 | 0:16:02 | |
We want to get this sorted. | 0:16:02 | 0:16:03 | |
Are you carrying a firearm? | 0:16:05 | 0:16:07 | |
-No. -Where is it? | 0:16:07 | 0:16:09 | |
-Er, it's in my desk drawer. -I had someone check your desk drawer. | 0:16:09 | 0:16:12 | |
If I'd just lost a partner, and I feared I might be next, | 0:16:17 | 0:16:22 | |
I'd be carrying. | 0:16:22 | 0:16:24 | |
I need to take the weapon from you, Rob. I'm sorry. | 0:16:27 | 0:16:29 | |
That's all right. | 0:16:37 | 0:16:38 | |
I understand. | 0:16:40 | 0:16:42 | |
You're just doing what you have to do. | 0:16:42 | 0:16:44 | |
All this can be sorted out really easily. Really, really easily. | 0:16:50 | 0:16:54 | |
GUNSHOT | 0:16:58 | 0:16:59 | |
WOMAN SCREAMS | 0:16:59 | 0:17:01 | |
Somebody call an ambulance! | 0:17:07 | 0:17:09 | |
Get this woman out. | 0:17:12 | 0:17:14 | |
Matthew, Matthew. | 0:17:23 | 0:17:25 | |
Come with me. | 0:17:26 | 0:17:28 | |
Get everybody out. | 0:17:31 | 0:17:33 | |
Jerry. | 0:17:33 | 0:17:34 | |
Seal these rooms off. | 0:17:38 | 0:17:39 | |
Call forensics. | 0:17:43 | 0:17:45 | |
Matthew, can you hear me? | 0:17:45 | 0:17:47 | |
Look at me. | 0:17:48 | 0:17:50 | |
Matthew, what happened in there? | 0:17:50 | 0:17:52 | |
What happened? | 0:17:53 | 0:17:54 | |
He was handing me his gun. | 0:17:54 | 0:17:56 | |
Then he put it to his face and fired. | 0:17:58 | 0:18:00 | |
-Deliberately? -Yes. | 0:18:00 | 0:18:01 | |
-Wasn't just a threat and the gun went off? -No. | 0:18:01 | 0:18:03 | |
No, he meant to do it. | 0:18:04 | 0:18:06 | |
-Do you have your gun on you? -No. | 0:18:07 | 0:18:08 | |
Right, I'm going to get a CSI here to take your clothes, all right? | 0:18:15 | 0:18:18 | |
-Yes. -Right. | 0:18:18 | 0:18:19 | |
We're going to do this right, we're going to sort this out. | 0:18:21 | 0:18:24 | |
Do you feel afraid at home? | 0:18:34 | 0:18:35 | |
It's unacceptable, Liz. | 0:18:42 | 0:18:43 | |
You have the right to feel safe in your own home. | 0:18:45 | 0:18:47 | |
I start it. | 0:18:49 | 0:18:50 | |
I throw things at him. | 0:18:51 | 0:18:53 | |
I provoke him. | 0:18:53 | 0:18:54 | |
Even if that's true, the responsibility for domestic violence | 0:18:58 | 0:19:02 | |
always lies with the abuser, Liz. | 0:19:02 | 0:19:05 | |
Never with the abused. | 0:19:05 | 0:19:07 | |
He wasn't always like this. | 0:19:09 | 0:19:11 | |
It's been since Danny died. | 0:19:13 | 0:19:15 | |
You're wearing a long sleeved top. | 0:19:24 | 0:19:27 | |
That's unusual for you. | 0:19:27 | 0:19:28 | |
Are you self-harming? | 0:19:31 | 0:19:33 | |
No. | 0:19:33 | 0:19:34 | |
Does he force you sexually? | 0:19:36 | 0:19:38 | |
As your counsellor, Liz, I'm not supposed to give advice. | 0:19:54 | 0:19:57 | |
But these people can. | 0:19:57 | 0:19:58 | |
He's out of prison on licence. | 0:20:06 | 0:20:08 | |
If I call the police, he'll go straight back to jail. | 0:20:12 | 0:20:14 | |
I can't do that to him. | 0:20:17 | 0:20:18 | |
Liz, under the Domestic Violence, Crime And Victims Act, | 0:20:21 | 0:20:27 | |
charges can be brought against your husband without your permission. | 0:20:27 | 0:20:31 | |
I can make the call. | 0:20:31 | 0:20:32 | |
But it's important for you that you do it yourself. | 0:20:35 | 0:20:37 | |
They can arrange a shelter until he's arrested. | 0:20:40 | 0:20:43 | |
I'm offering you a lifeline. | 0:20:47 | 0:20:48 | |
Take it. | 0:20:51 | 0:20:52 | |
Can we talk? | 0:21:20 | 0:21:21 | |
I have to wash. | 0:21:21 | 0:21:23 | |
I'll come with you. | 0:21:23 | 0:21:25 | |
It seems Breedlove was having an affair with James Olson's wife. | 0:21:34 | 0:21:38 | |
Why are you telling me? | 0:21:41 | 0:21:42 | |
I thought it might help. | 0:21:44 | 0:21:46 | |
If you were feeling at all guilty. | 0:21:47 | 0:21:48 | |
I'm not. | 0:21:48 | 0:21:50 | |
It's unclear whether Olson knew or not, | 0:21:52 | 0:21:55 | |
whether he suspected anything. | 0:21:55 | 0:21:57 | |
How was he when he was with you? | 0:22:01 | 0:22:03 | |
Fine. We've been over this. | 0:22:04 | 0:22:07 | |
But the text messages, the picture images, | 0:22:07 | 0:22:10 | |
breaching the cordon at a crime scene? | 0:22:10 | 0:22:11 | |
They all surprised me. | 0:22:11 | 0:22:12 | |
I read him wrong. | 0:22:14 | 0:22:15 | |
In what way? | 0:22:15 | 0:22:17 | |
I thought he was the type to accept it for what it was and move on. | 0:22:17 | 0:22:20 | |
A sweet night. | 0:22:22 | 0:22:23 | |
What? | 0:22:25 | 0:22:26 | |
Nothing. | 0:22:27 | 0:22:29 | |
Do you have any idea of the effect you have on men? | 0:22:32 | 0:22:34 | |
I'd have left my wife... | 0:22:38 | 0:22:39 | |
..my kids... | 0:22:41 | 0:22:42 | |
..everything for you. | 0:22:44 | 0:22:46 | |
That would have been a mistake. | 0:22:48 | 0:22:50 | |
I'm sorry. | 0:22:58 | 0:22:59 | |
I shouldn't have said that. | 0:23:01 | 0:23:03 | |
I'm sorry. | 0:23:05 | 0:23:07 | |
Thank you. | 0:23:11 | 0:23:12 | |
For handling things so calmly. | 0:23:13 | 0:23:15 | |
And so efficiently. | 0:23:17 | 0:23:18 | |
You've done the right thing calling us. | 0:23:32 | 0:23:34 | |
Making that call is the hardest part. | 0:23:37 | 0:23:39 | |
From now on you'll have our support. | 0:23:41 | 0:23:43 | |
Boss. | 0:23:58 | 0:23:59 | |
All three victims are on professional websites. | 0:24:01 | 0:24:04 | |
All have a detailed profile. | 0:24:04 | 0:24:05 | |
All with a professional portrait photograph. | 0:24:05 | 0:24:08 | |
Maybe this is how he finds them? | 0:24:09 | 0:24:12 | |
I mean, if the killer's trawling professional websites | 0:24:12 | 0:24:14 | |
looking for victims, | 0:24:14 | 0:24:15 | |
should we do the same to identify potential targets? | 0:24:15 | 0:24:18 | |
I'm not sure we can. | 0:24:19 | 0:24:21 | |
If we do identify women who we think conform to the killer's type, | 0:24:21 | 0:24:24 | |
what are we going to do? | 0:24:24 | 0:24:26 | |
Warn them? | 0:24:26 | 0:24:27 | |
PHONE RINGS | 0:24:27 | 0:24:28 | |
If we warn them we have to protect them | 0:24:28 | 0:24:30 | |
and we don't have the resources. | 0:24:30 | 0:24:32 | |
Hello? | 0:24:33 | 0:24:35 | |
'Hi, it's me.' | 0:24:35 | 0:24:36 | |
'The crime scene is being released back to the family | 0:24:36 | 0:24:38 | |
'and I'd like to take another look.' | 0:24:38 | 0:24:40 | |
When? | 0:24:40 | 0:24:41 | |
'Now.' | 0:24:41 | 0:24:43 | |
All right, I'll meet you there. | 0:24:43 | 0:24:44 | |
Mrs Shergold and I would like a word. | 0:25:05 | 0:25:07 | |
When? | 0:25:08 | 0:25:09 | |
Now. | 0:25:09 | 0:25:11 | |
Home-visiting can be very useful from a diagnostic point of view. | 0:25:21 | 0:25:24 | |
But it's in breach of department guidelines. | 0:25:24 | 0:25:26 | |
Seeing someone in their home environment can provide | 0:25:26 | 0:25:29 | |
unexpected information about their psyche... | 0:25:29 | 0:25:32 | |
Paul, please. | 0:25:32 | 0:25:33 | |
"Paul, please"? | 0:25:35 | 0:25:36 | |
Mrs Shergold is in complete agreement with me over this matter. | 0:25:36 | 0:25:39 | |
The protocols are in place to protect you as well as the clients. | 0:25:39 | 0:25:43 | |
We simply cannot tolerate any further indiscipline. | 0:25:43 | 0:25:46 | |
You can consider this an official warning. | 0:25:46 | 0:25:47 | |
You'll be receiving a letter. | 0:25:47 | 0:25:49 | |
You'll be receiving a letter. | 0:25:49 | 0:25:50 | |
What? | 0:25:51 | 0:25:52 | |
What? | 0:25:52 | 0:25:53 | |
I'm sorry, I'm not following. | 0:25:55 | 0:25:57 | |
I'm sorry, I'm not following. | 0:25:57 | 0:25:58 | |
Are you taking this seriously? | 0:26:00 | 0:26:02 | |
Are you taking this seriously? | 0:26:02 | 0:26:03 | |
I don't understand. | 0:26:04 | 0:26:06 | |
Then let me explain. | 0:26:06 | 0:26:07 | |
I've just done a good thing. | 0:26:09 | 0:26:11 | |
A very good thing. | 0:26:11 | 0:26:13 | |
And thanks to me, Liz Tyler can sleep safe tonight. | 0:26:13 | 0:26:17 | |
You people should be congratulating me, | 0:26:17 | 0:26:19 | |
not bleating on about petty rules and regulations. | 0:26:19 | 0:26:22 | |
Where was he hiding? | 0:26:30 | 0:26:31 | |
Do you think? | 0:26:31 | 0:26:32 | |
When he first attacked her? | 0:26:34 | 0:26:35 | |
In here? | 0:26:37 | 0:26:38 | |
Or from here? | 0:26:53 | 0:26:54 | |
'She's at the top of the stairs.' | 0:26:55 | 0:26:57 | |
'He comes out fast, overpowers her.' | 0:26:57 | 0:27:01 | |
GIRL SCREAMS | 0:27:01 | 0:27:03 | |
'So he lifts her...' | 0:27:03 | 0:27:04 | |
..carries her, struggling, into the bedroom. | 0:27:06 | 0:27:08 | |
He gets her on to the bed, pins her down, | 0:27:10 | 0:27:13 | |
then he ties her to the bed frame. | 0:27:13 | 0:27:16 | |
The ligature marks suggest maybe here and there. | 0:27:16 | 0:27:18 | |
You know, it's possible he was in here with her | 0:27:23 | 0:27:25 | |
and had her tied up, when there were patrol cops at the front door. | 0:27:25 | 0:27:31 | |
I didn't know that. | 0:27:31 | 0:27:32 | |
Yeah, the answer machine was over there. | 0:27:32 | 0:27:34 | |
It was set to play messages as they came in. | 0:27:38 | 0:27:40 | |
She might even have heard the call. | 0:27:42 | 0:27:46 | |
'This is PC Dani Ferrington.' | 0:27:46 | 0:27:47 | |
'I'm calling from outside your house.' | 0:27:47 | 0:27:50 | |
'If you are there, it is the police at the door.' | 0:27:50 | 0:27:52 | |
'I was hoping to speak with you | 0:27:52 | 0:27:54 | |
'to follow up on the incident that occurred on Friday.' | 0:27:54 | 0:27:56 | |
-'Please ring when you get this message.' -Why these women? | 0:27:56 | 0:27:58 | |
Why professional women? What's he punishing them for? | 0:27:58 | 0:28:01 | |
What will you tell your daughters in the future? | 0:28:11 | 0:28:15 | |
About how to stay safe? | 0:28:16 | 0:28:17 | |
Pretty much what I tell them now. | 0:28:19 | 0:28:21 | |
Don't talk to strange men. | 0:28:21 | 0:28:22 | |
Strange men? | 0:28:25 | 0:28:26 | |
Any man. | 0:28:28 | 0:28:29 | |
Hey. | 0:28:48 | 0:28:50 | |
Hey. | 0:28:50 | 0:28:51 | |
-You going home? -Yes. | 0:28:55 | 0:28:57 | |
Do you want a lift? | 0:28:57 | 0:28:58 | |
I'm OK walking. | 0:28:59 | 0:29:01 | |
Haven't you heard? There's a strangler on the prowl. | 0:29:03 | 0:29:05 | |
Are you going to protect me? | 0:29:08 | 0:29:09 | |
What's it like? | 0:29:34 | 0:29:35 | |
You know, being face to face with someone who's killed over and over? | 0:29:36 | 0:29:41 | |
You're thinking of Moon? | 0:29:41 | 0:29:42 | |
Hmm. | 0:29:42 | 0:29:44 | |
I directed the interviews. I didn't speak to him personally. | 0:29:44 | 0:29:46 | |
How do you interview someone like that? | 0:29:46 | 0:29:49 | |
Well, with Moon it was easy. He wanted to talk. | 0:29:50 | 0:29:53 | |
Most of the time he seemed deranged. | 0:29:53 | 0:29:55 | |
During his trial, he had to be removed from the court for singing. | 0:29:56 | 0:30:00 | |
He was an idiot. | 0:30:01 | 0:30:03 | |
We had CCTV footage of him arriving at his block of flats | 0:30:03 | 0:30:08 | |
with a nice new suitcase, clearly empty, | 0:30:08 | 0:30:11 | |
and then leaving an hour later dragging it along the ground. | 0:30:11 | 0:30:15 | |
Moving a body? | 0:30:15 | 0:30:16 | |
What was left of it. | 0:30:16 | 0:30:18 | |
The prime cuts were in the freezer. | 0:30:18 | 0:30:20 | |
When I was a DC, I spent years as a lead interviewer and a sweeper. | 0:30:24 | 0:30:30 | |
And the techniques are pretty standard. | 0:30:31 | 0:30:34 | |
You try and establish a rapport. | 0:30:35 | 0:30:37 | |
With a cannibal? | 0:30:37 | 0:30:38 | |
Well, with anybody. You start with what you know, | 0:30:38 | 0:30:41 | |
present the facts that you have at your disposal... | 0:30:41 | 0:30:44 | |
..and then you take it from there. | 0:30:46 | 0:30:48 | |
I've been thinking a lot lately about a friend of mine. | 0:30:53 | 0:30:56 | |
Really? Why? | 0:30:58 | 0:30:59 | |
When she was a student she was briefly with a guy who... | 0:30:59 | 0:31:03 | |
..almost strangled her to death one night, in bed. | 0:31:06 | 0:31:10 | |
Where was this? | 0:31:12 | 0:31:13 | |
In Belfast. | 0:31:14 | 0:31:16 | |
When? | 0:31:16 | 0:31:18 | |
About eight or nine years ago. | 0:31:18 | 0:31:19 | |
Did she report it to the police? | 0:31:22 | 0:31:23 | |
No, she didn't. | 0:31:23 | 0:31:25 | |
She's married now and has children. | 0:31:25 | 0:31:27 | |
I know she's never told her husband. | 0:31:28 | 0:31:30 | |
What's her name? | 0:31:31 | 0:31:33 | |
# You walked me home in the dark | 0:31:35 | 0:31:39 | |
# Streets wet from rain near the park | 0:31:39 | 0:31:42 | |
# We said goodbye at my door | 0:31:43 | 0:31:47 | |
# And I knew then that life Could be so much more | 0:31:47 | 0:31:51 | |
# Rain brought me back to your door | 0:31:54 | 0:31:58 | |
# You held me down on the floor | 0:31:59 | 0:32:02 | |
# I saw the pain in your eyes | 0:32:03 | 0:32:07 | |
# And I knew then that love Would be my demise | 0:32:07 | 0:32:12 | |
# And I know, yes, I know... # | 0:32:12 | 0:32:15 | |
It's just right. | 0:32:15 | 0:32:16 | |
# From the tips of my fingers To the ring on my toe | 0:32:16 | 0:32:20 | |
# I know | 0:32:20 | 0:32:22 | |
# Yes I know... # | 0:32:22 | 0:32:24 | |
I meant to show you. | 0:33:25 | 0:33:27 | |
Another of Livvy's drawings. | 0:33:31 | 0:33:32 | |
Where did she get this paper? | 0:33:44 | 0:33:47 | |
What? | 0:33:47 | 0:33:48 | |
I'm just wondering where she got the paper. | 0:33:49 | 0:33:51 | |
There's a baby at work, she's really poorly. | 0:33:52 | 0:33:55 | |
Her mother, she's only 18 herself. | 0:33:55 | 0:33:59 | |
But she's really devoted, a really good mother. | 0:34:01 | 0:34:05 | |
It's really got to me. | 0:34:08 | 0:34:09 | |
I can tell. | 0:34:13 | 0:34:14 | |
Come back to bed. | 0:34:22 | 0:34:23 | |
I guess she hears me talking about babies and mothers. | 0:34:26 | 0:34:29 | |
I get upset and then I get short with them. | 0:34:29 | 0:34:31 | |
And then there's all the stuff in the papers at the moment. | 0:34:31 | 0:34:34 | |
She doesn't read the papers. | 0:34:35 | 0:34:37 | |
It's on the telly, on the radio. | 0:34:37 | 0:34:39 | |
Her teacher says it's just a stage. | 0:34:49 | 0:34:51 | |
She doesn't just draw what she sees, she draws what she knows. | 0:34:53 | 0:34:56 | |
She knows a pregnant lady has a baby in her tummy, that's all. | 0:34:58 | 0:35:02 | |
BANGING ON DOOR | 0:35:27 | 0:35:28 | |
Armed police! Open up. | 0:35:28 | 0:35:30 | |
Police! | 0:35:35 | 0:35:36 | |
Oi! Oi! What the fuck is going... | 0:35:43 | 0:35:46 | |
James Tyler, I'm arresting you for assault and causing | 0:35:50 | 0:35:53 | |
actual bodily harm on your wife Liz Tyler. | 0:35:53 | 0:35:56 | |
You do not have to say anything but it may harm your defence | 0:35:56 | 0:35:58 | |
if you do not mention something which you may later rely on. | 0:35:58 | 0:36:03 | |
Anything you do say may be given in evidence. | 0:36:03 | 0:36:06 | |
Do you understand? | 0:36:06 | 0:36:07 | |
Get fucking off me. | 0:36:07 | 0:36:08 | |
Get in there! | 0:36:08 | 0:36:10 | |
That's it lads, well done. | 0:36:10 | 0:36:11 | |
-It could be a lot worse. -How? | 0:36:18 | 0:36:20 | |
He hasn't got hold of the fact that they went back on Sunday night. | 0:36:21 | 0:36:24 | |
Ferrington has effectively been taken off uniformed duties. | 0:36:38 | 0:36:41 | |
Stone has been assigned to another team. | 0:36:43 | 0:36:45 | |
It's good it's out there at last. Now they can move on. | 0:36:46 | 0:36:49 | |
Maybe you'd like to explain that to the Policing Executive. | 0:36:49 | 0:36:51 | |
Why is that your responsibility? | 0:36:51 | 0:36:53 | |
Leave that to the Uniform to deal with. | 0:36:53 | 0:36:55 | |
PHONE RINGS | 0:36:55 | 0:36:56 | |
I need to take this. | 0:36:56 | 0:36:58 | |
Gibson. | 0:37:00 | 0:37:01 | |
'It's McCurdy, ma'am.' | 0:37:01 | 0:37:03 | |
'It seems the killer of Sarah Kay...' | 0:37:03 | 0:37:05 | |
Morgan, I'd hoped I'd run into you. | 0:37:06 | 0:37:09 | |
Sorry, sir. I have to go. There's been a development. | 0:37:11 | 0:37:14 | |
Take my car. Keep me up to speed. | 0:37:15 | 0:37:17 | |
I don't have long, I'm afraid, Jim. | 0:37:22 | 0:37:24 | |
This won't take long. Morgan. I'm banking on your support today. | 0:37:24 | 0:37:28 | |
The investigation into the murder of those three young women, | 0:37:30 | 0:37:33 | |
Alice included, the murder of Michael Lockwood, James Olson, | 0:37:33 | 0:37:36 | |
the apparent suicide of Rob Breedlove, | 0:37:36 | 0:37:38 | |
has stretched us very thin. To breaking point, in fact. | 0:37:38 | 0:37:41 | |
I'm not sure I can give you that support, Jim. | 0:37:43 | 0:37:45 | |
I was speaking to the Chief Constable today... | 0:37:46 | 0:37:49 | |
The investigation into the murder of James Olson has thrown up | 0:37:49 | 0:37:52 | |
some very uncomfortable details. | 0:37:52 | 0:37:53 | |
Uncomfortable, I think, for both of us. | 0:37:53 | 0:37:56 | |
Like? | 0:38:01 | 0:38:02 | |
Like one of my officers being present in a hotel suite | 0:38:02 | 0:38:04 | |
with your son and two of your German business colleagues | 0:38:04 | 0:38:07 | |
on the night that Olson was killed. | 0:38:07 | 0:38:09 | |
A hotel suite where prostitutes were present, where serious Class A drugs | 0:38:09 | 0:38:15 | |
were being consumed and where a serious assault took place. | 0:38:15 | 0:38:18 | |
We'll continue to ventilate her and provide pain relief. | 0:38:22 | 0:38:25 | |
But I think the time has come to let nature take its course. | 0:38:26 | 0:38:29 | |
We will withdraw intensive care this morning. | 0:38:31 | 0:38:34 | |
How long will it take? | 0:38:38 | 0:38:40 | |
A matter of hours. | 0:38:40 | 0:38:41 | |
Will you stay with me? | 0:38:47 | 0:38:49 | |
Yes. | 0:38:49 | 0:38:51 | |
Of course. | 0:38:51 | 0:38:52 | |
It came with this morning's post. Addressed to me. | 0:38:55 | 0:38:58 | |
I opened it and Marion has touched it, too. That's it. | 0:38:58 | 0:39:03 | |
Mary, would you read that out loud for me? | 0:39:11 | 0:39:14 | |
Would that be all right? | 0:39:14 | 0:39:16 | |
Of course. | 0:39:16 | 0:39:17 | |
"Dear Mr Kay." | 0:39:22 | 0:39:24 | |
"I saw your other daughter Marion named in the newspaper | 0:39:24 | 0:39:28 | |
"and was able to obtain her address without too much difficulty." | 0:39:28 | 0:39:32 | |
"I also saw that you had to identify your daughter's body | 0:39:32 | 0:39:36 | |
"and I am sorry you had to do that." | 0:39:36 | 0:39:38 | |
"Please understand. I would never have killed her | 0:39:38 | 0:39:41 | |
"if I had known she was pregnant..." | 0:39:41 | 0:39:43 | |
'..babies are innocent, | 0:39:43 | 0:39:44 | |
'and I have always felt very protective of children.' | 0:39:44 | 0:39:48 | |
'Part of me says, "What's one less person on this earth?" | 0:39:48 | 0:39:51 | |
'Part of me hopes I do not have to meet you face-to-face | 0:39:52 | 0:39:55 | |
'in this world or the next to explain.' | 0:39:55 | 0:39:58 | |
'I took her driver's licence from her blue wallet - | 0:39:59 | 0:40:02 | |
'now I'm giving it back.' | 0:40:02 | 0:40:04 | |
'You won't see the cat again - cats are evil creatures.' | 0:40:04 | 0:40:08 | |
'One must have chaos in oneself to give birth to a dancing star.' | 0:40:10 | 0:40:14 | |
Hello, you. | 0:41:01 | 0:41:02 | |
It's from Thus Spake Zara... | 0:41:04 | 0:41:08 | |
Zarathustra. Yes, Nietzsche. Have you got the context? | 0:41:08 | 0:41:12 | |
"I say unto you: one must still have chaos in oneself | 0:41:14 | 0:41:17 | |
"to be able to give birth to a dancing star." | 0:41:17 | 0:41:20 | |
"Alas, the time of the most despicable man is coming." | 0:41:20 | 0:41:24 | |
"He that is no longer able to despise himself." | 0:41:24 | 0:41:28 | |
"Behold, I show you the last man. What is love?" | 0:41:29 | 0:41:32 | |
"What is creation? What is longing? What is a star?" | 0:41:33 | 0:41:37 | |
"Thus asks the last man and blinks." | 0:41:39 | 0:41:41 | |
We have your fingerprints on record, Marion. | 0:41:51 | 0:41:54 | |
We're going to need yours, too, sir. | 0:41:54 | 0:41:56 | |
Of course. | 0:41:57 | 0:41:59 | |
We'll take a look at these. | 0:41:59 | 0:42:01 | |
Fingerprints, paper analysis, ink analysis. | 0:42:01 | 0:42:03 | |
We'll check for indentations. | 0:42:03 | 0:42:05 | |
This could be very significant for us. | 0:42:07 | 0:42:08 | |
He talks about meeting me in this world or the next. | 0:42:18 | 0:42:21 | |
Yes. | 0:42:21 | 0:42:22 | |
I believe he has had faith at some point in his life. | 0:42:22 | 0:42:25 | |
I'd like to make an appeal. A public appeal. | 0:42:28 | 0:42:32 | |
I'd like to ask him to stop what he's doing. | 0:42:36 | 0:42:38 | |
Stop these terrible crimes. | 0:42:38 | 0:42:40 | |
Give himself up. | 0:42:40 | 0:42:42 | |
Repent and ask for God's forgiveness. | 0:42:42 | 0:42:45 | |
Hey, Joan, it's me. How are the kids? | 0:42:56 | 0:42:58 | |
'Ah, they're grand.' | 0:42:58 | 0:42:59 | |
Has Paul left for work yet? | 0:42:59 | 0:43:01 | |
'Ten, 15 minutes ago.' | 0:43:01 | 0:43:04 | |
Is there any way you can stay tonight? | 0:43:04 | 0:43:07 | |
'All night?' | 0:43:07 | 0:43:08 | |
Baby girl Mitchell's off the life support. | 0:43:09 | 0:43:11 | |
And I want to see it through with her mother. | 0:43:11 | 0:43:14 | |
'Oh, God. I really can't, Sally.' | 0:43:14 | 0:43:16 | |
It's OK. | 0:43:17 | 0:43:19 | |
'I'm sorry, I have to leave by nine at the latest.' | 0:43:19 | 0:43:21 | |
OK. | 0:43:23 | 0:43:24 | |
Are you sure it's him? Not a hoax? | 0:43:36 | 0:43:38 | |
I think it's him. | 0:43:38 | 0:43:39 | |
Expressing remorse? | 0:43:39 | 0:43:41 | |
Yes, remorse. | 0:43:41 | 0:43:43 | |
Just not about the murder itself as Ian Kay would like to think. | 0:43:43 | 0:43:46 | |
Then what? | 0:43:46 | 0:43:47 | |
Well, he spent the most time with Sarah Kay. | 0:43:48 | 0:43:51 | |
He posed her carefully. Painted her nails, did her hair. | 0:43:51 | 0:43:54 | |
Everything perfect. | 0:43:54 | 0:43:56 | |
Probably took photographs, beautiful photographs. | 0:43:56 | 0:43:59 | |
And then he heard the news that she was pregnant. | 0:44:00 | 0:44:03 | |
I believe it when he says he wouldn't have killed a pregnant woman. | 0:44:03 | 0:44:06 | |
That has a ring of truth. | 0:44:08 | 0:44:09 | |
So remorse, that his perfect kill had been tainted, spoiled? | 0:44:11 | 0:44:15 | |
Hmm. | 0:44:15 | 0:44:17 | |
What about this Ian Kay appeal? | 0:44:17 | 0:44:19 | |
I think it would give the killer pleasure... | 0:44:22 | 0:44:24 | |
..an opportunity to gloat. | 0:44:25 | 0:44:26 | |
But it could be invaluable to us. | 0:44:28 | 0:44:30 | |
It could open up a line of communication between us. | 0:44:31 | 0:44:33 | |
I've never gone up here. | 0:45:16 | 0:45:18 | |
I twisted Ferrington's arm. She told me where you were. | 0:45:19 | 0:45:23 | |
It's a good place to clear the head. | 0:45:24 | 0:45:26 | |
I just wanted to say thank you. | 0:45:29 | 0:45:30 | |
For your help. | 0:45:32 | 0:45:33 | |
I didn't do anything. | 0:45:33 | 0:45:34 | |
Yes. | 0:45:34 | 0:45:35 | |
You did. | 0:45:37 | 0:45:38 | |
I froze. | 0:45:40 | 0:45:41 | |
I've never done that before. | 0:45:45 | 0:45:47 | |
I should have seen it coming. | 0:45:52 | 0:45:53 | |
A man eaten up with guilt... | 0:45:56 | 0:45:59 | |
..in fear for his life. | 0:46:00 | 0:46:02 | |
About to lose his job, his reputation, his freedom. | 0:46:04 | 0:46:10 | |
I should have had someone else in the room with me. | 0:46:10 | 0:46:13 | |
We all make mistakes. | 0:46:13 | 0:46:14 | |
I don't want to stop holding her. | 0:46:24 | 0:46:26 | |
You don't have to. | 0:46:28 | 0:46:29 | |
When you're ready we can wash and dress her. | 0:46:33 | 0:46:36 | |
Take some photos if you like? | 0:46:37 | 0:46:39 | |
Yes. | 0:46:42 | 0:46:43 | |
There's someone to see you, ma'am. | 0:47:00 | 0:47:02 | |
Who? | 0:47:02 | 0:47:03 | |
Rose Stagg? A friend of Professor Reed Smith? | 0:47:03 | 0:47:06 | |
I spent years interviewing the victims of rape. | 0:47:34 | 0:47:37 | |
I don't think anyone ever felt worse | 0:47:39 | 0:47:41 | |
after talking to me about their experiences. | 0:47:41 | 0:47:43 | |
I was in my last year of medical studies at the university. | 0:47:53 | 0:47:56 | |
I already had a boyfriend | 0:47:58 | 0:48:00 | |
when I met a guy in one of the Student Union bars. | 0:48:00 | 0:48:02 | |
And he was a student too? | 0:48:04 | 0:48:06 | |
I think so. | 0:48:07 | 0:48:08 | |
Literature? Maybe Queen's or Stranmillis. | 0:48:10 | 0:48:13 | |
And how old was he, would you say? | 0:48:15 | 0:48:17 | |
22, 23. | 0:48:19 | 0:48:21 | |
We'd spent a couple of nights together. | 0:48:23 | 0:48:25 | |
What sort of sex did you have? | 0:48:27 | 0:48:28 | |
The sort that went on all night. | 0:48:31 | 0:48:32 | |
Rough? | 0:48:34 | 0:48:36 | |
Yes, but tender, too. | 0:48:36 | 0:48:39 | |
But then a strange thing happened. | 0:48:42 | 0:48:44 | |
We'd both been drinking. | 0:48:45 | 0:48:47 | |
Maybe too much. | 0:48:48 | 0:48:49 | |
We were in bed together. | 0:48:51 | 0:48:53 | |
I woke to find his hands around my throat. | 0:48:56 | 0:48:58 | |
-Was he raping you? -No. | 0:49:00 | 0:49:03 | |
At first I couldn't work out what was happening. | 0:49:04 | 0:49:07 | |
The look in his eyes was really cold. | 0:49:08 | 0:49:10 | |
I started fighting him, | 0:49:11 | 0:49:13 | |
but I couldn't get his hands away from my throat. | 0:49:13 | 0:49:16 | |
Take your time. | 0:49:20 | 0:49:21 | |
CAR APPROACHES | 0:49:28 | 0:49:31 | |
CAR DOOR OPENS | 0:49:34 | 0:49:36 | |
CAR DOOR OPENS | 0:49:39 | 0:49:41 | |
FRONT DOOR OPENS | 0:49:50 | 0:49:52 | |
'Right, stick the kettle on. I'm bursting.' | 0:49:57 | 0:49:59 | |
-'Do you want some music on?' -'Aye.' | 0:49:59 | 0:50:00 | |
DANCE MUSIC PLAYS | 0:50:06 | 0:50:11 | |
SHE SCREAMS | 0:50:36 | 0:50:39 | |
'The pain was acute.' | 0:50:47 | 0:50:48 | |
'I felt as though my lungs would burst, my head.' | 0:50:49 | 0:50:53 | |
'I was in total panic.' | 0:50:55 | 0:50:57 | |
'I've never felt such strength in someone before or since.' | 0:50:59 | 0:51:02 | |
How did you get away from him? | 0:51:03 | 0:51:06 | |
I didn't. | 0:51:06 | 0:51:08 | |
Suddenly I could breathe again. | 0:51:08 | 0:51:11 | |
I was gasping for breath | 0:51:11 | 0:51:13 | |
and his hands weren't around my neck any more. | 0:51:13 | 0:51:16 | |
I felt like I'd returned from the dead. | 0:51:17 | 0:51:20 | |
'He sort of sat up and came to.' | 0:51:22 | 0:51:26 | |
Was he aroused? Did he have an erection? | 0:51:27 | 0:51:30 | |
Oh, yes. | 0:51:30 | 0:51:31 | |
He, erm, got up from the bed and stumbled away. | 0:51:35 | 0:51:39 | |
-What happened then? -I felt sick. | 0:51:42 | 0:51:43 | |
I was sick. | 0:51:45 | 0:51:46 | |
I lay down on the bed. | 0:51:48 | 0:51:49 | |
I just laid there. | 0:51:50 | 0:51:52 | |
I think I went to sleep. | 0:51:54 | 0:51:56 | |
DANCE MUSIC CONTINUES | 0:52:00 | 0:52:03 | |
What the...? | 0:52:06 | 0:52:07 | |
MUSIC STOPS | 0:52:20 | 0:52:23 | |
GIRL CRIES | 0:52:28 | 0:52:32 | |
I had bruises all over my neck and marks from my fingernails | 0:53:39 | 0:53:44 | |
where I'd tried to get his hands away from my throat. | 0:53:44 | 0:53:46 | |
I was hoarse for days. | 0:53:48 | 0:53:50 | |
I couldn't swallow. | 0:53:51 | 0:53:52 | |
Did you meet with him again? | 0:53:53 | 0:53:55 | |
Just once. | 0:53:56 | 0:53:57 | |
Did he apologise? | 0:53:59 | 0:54:00 | |
Yes, he did. | 0:54:02 | 0:54:03 | |
Did he offer any kind of explanation for his behaviour? | 0:54:06 | 0:54:09 | |
He said he wanted to know what it was like... | 0:54:12 | 0:54:15 | |
..to make love to someone who was unconscious. | 0:54:16 | 0:54:18 | |
Make love? | 0:54:20 | 0:54:21 | |
Fuck. | 0:54:22 | 0:54:23 | |
GIRL STRUGGLES TO BREATHE | 0:54:23 | 0:54:27 | |
Hello? | 0:56:27 | 0:56:28 | |
The door's open. | 0:56:29 | 0:56:30 | |
-Hello? -Be careful. | 0:56:30 | 0:56:32 | |
And you haven't seen him since? | 0:56:33 | 0:56:34 | |
No. | 0:56:34 | 0:56:36 | |
-Even glimpsed him, about town? -No. | 0:56:36 | 0:56:38 | |
And you know of him as Peter? Anything else? | 0:56:39 | 0:56:43 | |
I know it seems crazy... | 0:56:43 | 0:56:44 | |
..being in bed with a guy when you don't know anything about him. | 0:56:46 | 0:56:49 | |
Just his first name. | 0:56:49 | 0:56:50 | |
I learnt my lesson. | 0:56:52 | 0:56:53 | |
KNOCK AT DOOR | 0:56:54 | 0:56:56 | |
You're wanted, ma'am. | 0:56:56 | 0:56:57 | |
It's urgent. | 0:57:00 | 0:57:01 | |
Subtitles by Red Bee Media | 0:57:27 | 0:57:30 |