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This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:08 | |
We're only holding two cards. One, we have him two, we have her and she's alive, | 0:00:08 | 0:00:12 | |
the rest is a disaster. | 0:00:12 | 0:00:13 | |
Do you have a friend called Daisy? | 0:00:13 | 0:00:15 | |
Why? | 0:00:15 | 0:00:16 | |
There's something about her online, | 0:00:16 | 0:00:18 | |
how she met Daddy one time. | 0:00:18 | 0:00:20 | |
Am I being interviewed under caution? | 0:00:20 | 0:00:22 | |
Yes, you are. | 0:00:22 | 0:00:23 | |
I knew that Rose was in that boot | 0:00:23 | 0:00:25 | |
and I needed to get to her. | 0:00:25 | 0:00:26 | |
And what about Mr Spector's life? | 0:00:26 | 0:00:28 | |
Did you not have a duty to protect that? | 0:00:28 | 0:00:31 | |
MACHINE BLEEPS HE CHOKES | 0:00:31 | 0:00:33 | |
I need some help in here! | 0:00:33 | 0:00:35 | |
Rose, what are you doing? | 0:00:35 | 0:00:36 | |
-I want to go home. -You can't. | 0:00:36 | 0:00:38 | |
I want to go home! | 0:00:38 | 0:00:39 | |
A man has come forward having seen Spector's photograph on the news. | 0:00:39 | 0:00:43 | |
He says Spector looks like a man who rents | 0:00:43 | 0:00:45 | |
a lock-up from him in East Belfast, | 0:00:45 | 0:00:47 | |
under the name Baldwin. | 0:00:47 | 0:00:49 | |
We've just landed a not uninteresting little case. | 0:00:49 | 0:00:52 | |
The Belfast Strangler. | 0:00:52 | 0:00:53 | |
You stay away from him! | 0:00:53 | 0:00:54 | |
I haven't been near him! You need to get a grip! | 0:00:54 | 0:00:57 | |
You're obsessed, it's pathetic! | 0:00:57 | 0:00:59 | |
SHE SCREAMS | 0:00:59 | 0:01:00 | |
Who's pathetic now?! | 0:01:00 | 0:01:01 | |
Ma'am. | 0:01:01 | 0:01:02 | |
Hello, Daddy. | 0:01:04 | 0:01:05 | |
It's me, Olivia. | 0:01:05 | 0:01:07 | |
Why are you so big? And you, you look different, older. | 0:01:07 | 0:01:11 | |
What's happening to me? | 0:01:11 | 0:01:13 | |
More victims? | 0:01:15 | 0:01:16 | |
HEAVY BREATHING | 0:02:50 | 0:02:54 | |
Are you in pain? | 0:03:30 | 0:03:31 | |
Here. | 0:03:49 | 0:03:50 | |
HE EXHALES DEEPLY | 0:03:57 | 0:04:00 | |
We've seen fragments before, | 0:04:26 | 0:04:28 | |
bits of pages that didn't burn in the car. | 0:04:28 | 0:04:31 | |
Enough to confirm that he kept journals, but nothing like this. | 0:04:31 | 0:04:34 | |
Nothing so extensive, nothing so detailed. | 0:04:36 | 0:04:38 | |
I'd put it to Spector that between the strangulation | 0:04:39 | 0:04:43 | |
of Rose and the murder of Fiona Gallagher, | 0:04:43 | 0:04:47 | |
that there must have been other attacks. | 0:04:47 | 0:04:49 | |
He said that there were no other attacks, | 0:04:49 | 0:04:51 | |
that Fiona Gallagher was his first murder. | 0:04:51 | 0:04:54 | |
During that gap in time, he suggested that he | 0:04:55 | 0:04:59 | |
always had a "project" to work on. | 0:04:59 | 0:05:01 | |
Are these those "projects"? | 0:05:02 | 0:05:04 | |
A.S. | 0:05:05 | 0:05:06 | |
Might live in the Holylands area, | 0:05:10 | 0:05:12 | |
who might be a journalist... | 0:05:12 | 0:05:14 | |
..who seems to wake up late every day and skip breakfast. | 0:05:15 | 0:05:19 | |
Who wears a cream robe after her bath and sometimes doesn't | 0:05:20 | 0:05:24 | |
completely close her bedroom curtains. | 0:05:24 | 0:05:27 | |
Or, R.W... | 0:05:29 | 0:05:33 | |
who cycles to the university most days off, | 0:05:33 | 0:05:35 | |
somewhere in the Lisburn Road. | 0:05:35 | 0:05:38 | |
Always brings her lunch with her and eats in the botanic gardens. | 0:05:38 | 0:05:42 | |
Who has clear, pale skin, wears close-fitting clothes | 0:05:42 | 0:05:46 | |
and walks with a short stride that Spector likes. | 0:05:46 | 0:05:49 | |
Where on the continuum of his violence do these journals fit? | 0:05:52 | 0:05:56 | |
Are they just fantasies that sustain him, feed his appetites? | 0:05:58 | 0:06:03 | |
Or are they a record... | 0:06:03 | 0:06:05 | |
..of nine more murders? | 0:06:07 | 0:06:09 | |
What time of day is it? | 0:06:11 | 0:06:12 | |
Morning, afternoon, night? | 0:06:12 | 0:06:14 | |
Morning. | 0:06:16 | 0:06:18 | |
Where are we? | 0:06:18 | 0:06:19 | |
Belfast General Hospital. | 0:06:21 | 0:06:23 | |
Can you remember the name of your nurse? | 0:06:24 | 0:06:27 | |
Kiera. | 0:06:31 | 0:06:32 | |
Are you married, or do you have a partner? | 0:06:34 | 0:06:37 | |
I'm married. | 0:06:37 | 0:06:38 | |
Can you remember any other family members? | 0:06:39 | 0:06:42 | |
Sally Ann has a father, John, and a mother, Carol. | 0:06:45 | 0:06:51 | |
We call her Cici. | 0:06:51 | 0:06:53 | |
And what about you? | 0:06:53 | 0:06:55 | |
Me? | 0:06:58 | 0:07:00 | |
Do you have any family? | 0:07:00 | 0:07:01 | |
No. | 0:07:03 | 0:07:04 | |
Why is that? | 0:07:04 | 0:07:05 | |
My mother died. | 0:07:07 | 0:07:08 | |
And what about your father? | 0:07:08 | 0:07:11 | |
When I was growing up, he was known as Peter Baldwin. | 0:07:14 | 0:07:18 | |
I thought that man was my father, till he left us. | 0:07:18 | 0:07:23 | |
My mother told me that he wasn't my real father, he was... | 0:07:25 | 0:07:30 | |
just a man. | 0:07:30 | 0:07:32 | |
When did you become Paul Spector? | 0:07:34 | 0:07:36 | |
Erm... | 0:07:39 | 0:07:41 | |
just before I met Sally Ann. | 0:07:41 | 0:07:43 | |
And why did you change? | 0:07:44 | 0:07:46 | |
Wanted a... | 0:07:49 | 0:07:51 | |
clean start. | 0:07:51 | 0:07:52 | |
-New life. -Why's that? | 0:07:52 | 0:07:55 | |
Not sure. | 0:07:56 | 0:07:58 | |
Has that new life worked for you? | 0:08:00 | 0:08:02 | |
The sheer volume of garments suggests there were very many | 0:08:13 | 0:08:16 | |
fetish burglaries at that time. | 0:08:16 | 0:08:19 | |
His journals talk of... | 0:08:19 | 0:08:20 | |
..climbing scaffolding, | 0:08:22 | 0:08:24 | |
finding windows open, doors unlocked, alarms not set. | 0:08:24 | 0:08:27 | |
I took this photograph to be of a woman. | 0:08:29 | 0:08:32 | |
On closer inspection... | 0:08:33 | 0:08:35 | |
it's clear it's a mannequin. | 0:08:35 | 0:08:37 | |
And these pictures of him. | 0:08:39 | 0:08:41 | |
The bondage, the auto asphyxiation... | 0:08:44 | 0:08:48 | |
..introduce a new element to our understanding | 0:08:49 | 0:08:53 | |
of his sexual behaviour. | 0:08:53 | 0:08:55 | |
Has any information returned to you over | 0:08:56 | 0:08:59 | |
the last 12 hours voluntarily? | 0:08:59 | 0:09:01 | |
I don't think so. | 0:09:03 | 0:09:05 | |
Hold this in your hand. | 0:09:07 | 0:09:09 | |
Keep it safe. | 0:09:10 | 0:09:12 | |
Can you give it back to me in 15 minutes' time? | 0:09:12 | 0:09:15 | |
Yes. | 0:09:15 | 0:09:17 | |
Who's the British Prime Minister? | 0:09:17 | 0:09:19 | |
Tony Blair. | 0:09:21 | 0:09:22 | |
Have you heard of Facebook? | 0:09:25 | 0:09:26 | |
-Yes. -What is it? | 0:09:28 | 0:09:30 | |
It's... | 0:09:31 | 0:09:33 | |
a social networking site. | 0:09:33 | 0:09:35 | |
And what about Twitter? | 0:09:36 | 0:09:38 | |
I don't know what that is. | 0:09:42 | 0:09:44 | |
So you don't know what a tweet is, or tweeting? | 0:09:44 | 0:09:46 | |
The sound a bird makes. | 0:09:50 | 0:09:51 | |
What's a hashtag? | 0:09:54 | 0:09:55 | |
No idea. | 0:09:59 | 0:10:00 | |
Presumably, I'm supposed to know what these things are? | 0:10:02 | 0:10:06 | |
Maybe. | 0:10:08 | 0:10:09 | |
The main thing is that we identify and find these women. | 0:10:12 | 0:10:16 | |
Use the initials, | 0:10:17 | 0:10:19 | |
look at solved or unsolved sexually motivated murders, | 0:10:19 | 0:10:23 | |
or attempted murders, particularly strangulations occurring | 0:10:23 | 0:10:26 | |
in homes and apartments, check Missing Persons | 0:10:26 | 0:10:30 | |
for suspected foul play. | 0:10:30 | 0:10:33 | |
We need to know if these women are alive or dead. | 0:10:35 | 0:10:38 | |
I think that's all, unless there's anything else? | 0:10:41 | 0:10:44 | |
We've confirmed the list of children's homes | 0:10:44 | 0:10:46 | |
Spector was in, following the death of his mother. | 0:10:46 | 0:10:50 | |
We have lists of all his fellow pupils, | 0:10:50 | 0:10:52 | |
including those at Gortnacull. | 0:10:52 | 0:10:54 | |
Any news on the Benedetto girl? | 0:10:54 | 0:10:57 | |
Uniforms called at her house this morning, Ma'am. | 0:10:57 | 0:11:00 | |
She didn't come home last night, | 0:11:00 | 0:11:01 | |
her mother has no idea where she is. | 0:11:01 | 0:11:03 | |
A warrant's been issued for her arrest. | 0:11:03 | 0:11:06 | |
Thank you all. | 0:11:08 | 0:11:09 | |
What's the last full day you remember? | 0:11:12 | 0:11:14 | |
It was with Olivia. | 0:11:17 | 0:11:19 | |
Go on. | 0:11:20 | 0:11:21 | |
Erm... | 0:11:24 | 0:11:26 | |
I took her to a playgroup, a musical playgroup. | 0:11:26 | 0:11:29 | |
She loves dancing. | 0:11:31 | 0:11:32 | |
And, erm... | 0:11:34 | 0:11:36 | |
they all sing songs, The Wheels On The Bus. | 0:11:36 | 0:11:39 | |
She touches all the right places when she does | 0:11:41 | 0:11:44 | |
Head, Shoulders, Knees And Toes. | 0:11:44 | 0:11:46 | |
Then we went for lunch in the park. | 0:11:49 | 0:11:52 | |
She was pedalling on her tricycle. | 0:11:55 | 0:11:58 | |
There's a pair of swans on the water there, nine or ten babies. | 0:12:01 | 0:12:06 | |
Ugly ducklings. | 0:12:06 | 0:12:08 | |
She was talking loads. | 0:12:10 | 0:12:11 | |
She's always getting me to play make believe with her. | 0:12:12 | 0:12:15 | |
It sounds to me like Olivia is about two years old. | 0:12:17 | 0:12:20 | |
Yes. | 0:12:20 | 0:12:22 | |
But she isn't, is she? | 0:12:22 | 0:12:23 | |
Can you describe what the memory loss feels like to you? | 0:13:59 | 0:14:03 | |
Well... | 0:14:09 | 0:14:10 | |
..it feels like it's night-time and... | 0:14:12 | 0:14:14 | |
..there's a thunderstorm and I'm standing on a hillside... | 0:14:17 | 0:14:20 | |
..and I've been asked to draw a map of the valley below. | 0:14:22 | 0:14:26 | |
There's lightning flashes. | 0:14:29 | 0:14:31 | |
They light up the land, but only for a few seconds, | 0:14:32 | 0:14:35 | |
not long enough to draw the map. | 0:14:35 | 0:14:37 | |
Can you recall who you are? | 0:14:46 | 0:14:48 | |
In the sense of what you were like and what you're like now? | 0:14:48 | 0:14:52 | |
Your trait characteristics? | 0:14:52 | 0:14:54 | |
Erm... | 0:14:57 | 0:14:59 | |
I'm told I have a son. | 0:15:00 | 0:15:02 | |
I've no reason to think that people are lying to me, but... | 0:15:05 | 0:15:08 | |
..I don't feel it. | 0:15:10 | 0:15:11 | |
I'm told I'm in trouble with the police. | 0:15:14 | 0:15:16 | |
I don't know what I've done. | 0:15:18 | 0:15:19 | |
I think that I might be different but I don't know why. | 0:15:23 | 0:15:29 | |
I feel like I'm an all-right person? | 0:15:31 | 0:15:34 | |
It will all come back to me, won't it? | 0:16:01 | 0:16:03 | |
Your anterograde memory is working well. | 0:16:05 | 0:16:08 | |
Anything else you've forgotten, you can relearn. | 0:16:10 | 0:16:14 | |
But the ownership has gone. | 0:16:17 | 0:16:19 | |
MOBILE RINGS | 0:16:52 | 0:16:55 | |
KEYPAD TONE Gibson? | 0:17:01 | 0:17:03 | |
'Patrick Spencer, ICU Consultant, Belfast General Hospital.' | 0:17:03 | 0:17:07 | |
Thank you for calling me back, Doctor. I understand he's conscious? | 0:17:07 | 0:17:11 | |
'He is. His physiology is normalising. | 0:17:11 | 0:17:13 | |
'He's cardiovascularly stable...' | 0:17:13 | 0:17:16 | |
and has made good progress | 0:17:16 | 0:17:18 | |
given the massive insult and blood loss from the bullet wounds... | 0:17:18 | 0:17:20 | |
'But?' | 0:17:21 | 0:17:23 | |
But there is an issue. | 0:17:23 | 0:17:25 | |
'Although his short-term memory | 0:17:25 | 0:17:27 | |
'seems to be functioning adequately... | 0:17:27 | 0:17:29 | |
'..it seems Mr Spector has suffered | 0:17:30 | 0:17:32 | |
'quite extensive long-term memory loss.' | 0:17:32 | 0:17:35 | |
BED WHIRS, HE WINCES | 0:17:38 | 0:17:40 | |
BED CLANKS | 0:17:42 | 0:17:44 | |
OK. | 0:17:44 | 0:17:46 | |
I'm just going to move your legs to the edge of the bed, here. | 0:17:49 | 0:17:52 | |
OK... | 0:17:52 | 0:17:53 | |
I'm now going to take your arm now. | 0:17:53 | 0:17:55 | |
OK, here we go... | 0:17:58 | 0:17:59 | |
HE GROANS | 0:17:59 | 0:18:01 | |
HE GRUNTS | 0:18:03 | 0:18:05 | |
Keep going. | 0:18:05 | 0:18:06 | |
Over here... | 0:18:06 | 0:18:08 | |
Here. | 0:18:10 | 0:18:11 | |
HE GROANS | 0:18:11 | 0:18:14 | |
OK, that's good. Well done. | 0:18:17 | 0:18:18 | |
GIBSON: 'Apparently, he's docile, | 0:18:21 | 0:18:24 | |
'well oriented in time and space and has...' | 0:18:24 | 0:18:27 | |
established good relations with his doctors and nurses. | 0:18:27 | 0:18:30 | |
(For pity's sake!) | 0:18:30 | 0:18:32 | |
It seems he can acquire new information | 0:18:33 | 0:18:35 | |
and keep track of his medical procedures, | 0:18:35 | 0:18:37 | |
but that he has almost no recollection | 0:18:37 | 0:18:40 | |
of the events that have taken place over the last six years or so. | 0:18:40 | 0:18:44 | |
Are we supposed to be taking this seriously? | 0:18:44 | 0:18:46 | |
I think we have to. | 0:18:46 | 0:18:49 | |
Are they linking this... | 0:18:50 | 0:18:51 | |
..this impairment directly to the shooting? | 0:18:53 | 0:18:55 | |
The nature of the amnesia has not been established yet. | 0:18:55 | 0:18:59 | |
It... It might be organic, an injury to the brain | 0:19:00 | 0:19:03 | |
because of blood loss or a resultant lack of oxygen, | 0:19:03 | 0:19:07 | |
or it could be psychogenic, | 0:19:07 | 0:19:09 | |
a result, perhaps, of trauma. | 0:19:09 | 0:19:12 | |
But until they do an MRI scan, they can't really say. | 0:19:13 | 0:19:17 | |
So, perform the MRI scan. | 0:19:18 | 0:19:20 | |
Spector has retained metal fragments from the bullet in his body. | 0:19:20 | 0:19:24 | |
If they contain iron, the fragments can be heated up | 0:19:25 | 0:19:28 | |
and the magnet can drag them through the body | 0:19:28 | 0:19:31 | |
and cause more organ damage. | 0:19:31 | 0:19:33 | |
-Are they conducting psychological tests yet? -Yes, they are. | 0:19:33 | 0:19:37 | |
The Consultant Neuropsychologist is an Alison Walden. | 0:19:37 | 0:19:41 | |
But Jim's right. He must be feigning, surely? | 0:19:41 | 0:19:44 | |
-Or at the very least, exaggerating his symptoms? -To what end? | 0:19:44 | 0:19:47 | |
The law does not concern itself with the present state of mind | 0:19:47 | 0:19:51 | |
of the criminal defendant, | 0:19:51 | 0:19:52 | |
only with the state of mind at the time the crime was committed. | 0:19:52 | 0:19:56 | |
And Spector's was clearly conveyed in his confession. | 0:19:56 | 0:19:59 | |
He clearly understood the difference | 0:19:59 | 0:20:01 | |
between right and wrong at the time of the crimes, | 0:20:01 | 0:20:04 | |
and, therefore, he will be held accountable. | 0:20:04 | 0:20:07 | |
But it is founded on memory-based evidence. | 0:20:07 | 0:20:10 | |
And he's saying that he can't remember any of the crimes. | 0:20:11 | 0:20:13 | |
It poses all sorts of problems for the courts. | 0:20:13 | 0:20:17 | |
It's almost like he's claiming that he's innocent. | 0:20:17 | 0:20:20 | |
It seems there's more than usual pressure | 0:20:20 | 0:20:22 | |
to build the evidential case against him. | 0:20:22 | 0:20:25 | |
That's precisely what we're doing, sir. | 0:20:27 | 0:20:30 | |
What will happen to him if the defence does ask | 0:20:31 | 0:20:34 | |
for a mental health assessment? | 0:20:34 | 0:20:35 | |
His potential dangerousness suggests a forensic unit | 0:20:35 | 0:20:39 | |
rather than a hospital ward. | 0:20:39 | 0:20:42 | |
And where would that be? | 0:20:42 | 0:20:43 | |
The Foyle Clinic in East Belfast. | 0:20:43 | 0:20:46 | |
Who will assess him? | 0:20:46 | 0:20:48 | |
August Larson. | 0:20:48 | 0:20:49 | |
He's the Consultant Forensic Psychiatrist. | 0:20:49 | 0:20:52 | |
Very experienced, very used to giving expert testimony in court. | 0:20:52 | 0:20:57 | |
The sooner we get him out of the hands of the medics, | 0:20:58 | 0:21:01 | |
and back into the justice system, the better. | 0:21:01 | 0:21:03 | |
DOOR OPENS | 0:21:16 | 0:21:19 | |
< Thanks, Alison. | 0:21:19 | 0:21:21 | |
HE TAPS ON GLASS | 0:21:28 | 0:21:29 | |
Kiera Sheridan. Mr Spector's dedicated nurse. | 0:21:34 | 0:21:37 | |
She provides him with one-to-one care. | 0:21:37 | 0:21:39 | |
She will limit your visit if patient status warrants it. | 0:21:39 | 0:21:42 | |
-Thank you. -She'll show you in. | 0:21:42 | 0:21:44 | |
-LOWDEN: -'What about the wife?' | 0:21:51 | 0:21:54 | |
I'm worried about her. | 0:21:55 | 0:21:56 | |
It's obviously been a devastating blow to her - | 0:21:57 | 0:22:00 | |
as it would be to anyone who seems to have had no real suspicions. | 0:22:00 | 0:22:05 | |
But there's no possibility of her repeating the offence. | 0:22:05 | 0:22:09 | |
She's admitted her guilt, | 0:22:10 | 0:22:12 | |
she's corrected the facts. | 0:22:12 | 0:22:13 | |
She might even end up being a witness for the prosecution. | 0:22:13 | 0:22:16 | |
I think we should drop the charges. | 0:22:18 | 0:22:20 | |
If she'd told the truth, in the first place, | 0:22:20 | 0:22:22 | |
about Spector's whereabouts, | 0:22:22 | 0:22:24 | |
then we could have investigated him more closely and, perhaps, | 0:22:24 | 0:22:28 | |
Rose Stagg would not have been put through the ordeal that she has. | 0:22:28 | 0:22:31 | |
I just feel that pursuing her through the courts | 0:22:33 | 0:22:37 | |
will likely have a very bad effect | 0:22:37 | 0:22:39 | |
on her mental and physical health. | 0:22:39 | 0:22:41 | |
Is prosecution really in the public interest? | 0:22:42 | 0:22:47 | |
As Director of Public Prosecutions, | 0:22:47 | 0:22:49 | |
I have to say, I think it is. | 0:22:49 | 0:22:51 | |
How things will unfold with Spector is unclear. | 0:22:51 | 0:22:53 | |
Prosecuting his wife sends a clear signal - | 0:22:53 | 0:22:56 | |
we mean business and no-one involved will be getting off lightly. | 0:22:56 | 0:23:01 | |
Sally Ann Spector miscarried in police custody. | 0:23:04 | 0:23:08 | |
That's a devastating thing to happen to any woman, | 0:23:09 | 0:23:13 | |
but particularly her. | 0:23:13 | 0:23:14 | |
Her identity is wrapped up in her children | 0:23:14 | 0:23:17 | |
and those that she cares for. | 0:23:17 | 0:23:19 | |
She's perceived as an angel by the parents of the babies | 0:23:19 | 0:23:23 | |
she looks after in the NICU. | 0:23:23 | 0:23:24 | |
Now, it appears as if she's lost everything, | 0:23:25 | 0:23:28 | |
her marriage, | 0:23:28 | 0:23:29 | |
her work, | 0:23:29 | 0:23:30 | |
her unborn child. | 0:23:30 | 0:23:32 | |
She's paid a very high price for her naivety. | 0:23:34 | 0:23:37 | |
I can't believe that, of all people, | 0:23:37 | 0:23:39 | |
you are suggesting that we treat Sally Ann paternalistically. | 0:23:39 | 0:23:43 | |
I say we move ahead with the charges | 0:23:44 | 0:23:47 | |
and we can use them as leverage against Spector. | 0:23:47 | 0:23:50 | |
I do think we need to bear in mind the seriousness of the offence. | 0:23:50 | 0:23:53 | |
We accepted instructions on your behalf from your wife | 0:23:57 | 0:24:01 | |
when you were unconscious. | 0:24:01 | 0:24:02 | |
Today is an opportunity for you to say if you are happy for us | 0:24:02 | 0:24:06 | |
to be representing you. | 0:24:06 | 0:24:08 | |
I believe that the nature of your injuries has been explained to you? | 0:24:09 | 0:24:13 | |
Yes. | 0:24:14 | 0:24:15 | |
And you understand that you were in police custody when you were shot? | 0:24:15 | 0:24:19 | |
Yes, but I still don't know why. | 0:24:19 | 0:24:21 | |
No-one will tell me. | 0:24:21 | 0:24:23 | |
An individual called James Tyler was responsible. | 0:24:25 | 0:24:28 | |
I don't know who that is. | 0:24:36 | 0:24:38 | |
-Why did he shoot me? -I need to get more information from the police | 0:24:39 | 0:24:43 | |
before I can explain that. The more pressing issue, Mr Spector, | 0:24:43 | 0:24:47 | |
is that the police have charged you | 0:24:47 | 0:24:49 | |
with a number of very serious crimes. | 0:24:49 | 0:24:51 | |
I mean, the most serious crimes on the Statute Book. | 0:24:51 | 0:24:55 | |
What crimes? | 0:24:56 | 0:24:58 | |
A series of murders. | 0:24:58 | 0:24:59 | |
What sort of murders? | 0:25:05 | 0:25:06 | |
With your permission, let me take you through the police charge sheet. | 0:25:06 | 0:25:11 | |
All the, er...alleged crimes took place in Belfast. | 0:25:13 | 0:25:17 | |
The police claim that on the 10th day of December, 2011, | 0:25:19 | 0:25:22 | |
you murdered University lecturer Fiona Gallagher | 0:25:22 | 0:25:25 | |
in her home before fleeing the scene. | 0:25:25 | 0:25:27 | |
Death by strangulation. | 0:25:28 | 0:25:30 | |
That on the 15th of March, 2012, | 0:25:32 | 0:25:36 | |
you murdered architect Alice Monroe in her home, | 0:25:36 | 0:25:40 | |
strangling her with a ligature. | 0:25:40 | 0:25:42 | |
They allege that you then washed and dried her body, | 0:25:43 | 0:25:46 | |
before putting her back to bed and posing her body. | 0:25:46 | 0:25:50 | |
That on the 16th of April, 2012, | 0:25:50 | 0:25:54 | |
you murdered solicitor Sarah Kay in her home, | 0:25:54 | 0:25:58 | |
strangling her with a ligature. | 0:25:58 | 0:26:00 | |
They allege that you washed and dried Sarah's body - | 0:26:02 | 0:26:07 | |
washed and dried her bedclothes... | 0:26:07 | 0:26:09 | |
..painted her finger nails red, | 0:26:10 | 0:26:13 | |
before posing her in her bed and taking photographs. | 0:26:13 | 0:26:16 | |
Sarah Kay was pregnant at the time of her death. | 0:26:18 | 0:26:21 | |
That four days later, on the 20th of April, 2012... | 0:26:24 | 0:26:29 | |
..you attacked and strangled | 0:26:31 | 0:26:32 | |
accountant Annie Brawley in her home. | 0:26:32 | 0:26:35 | |
They claim that you... | 0:26:37 | 0:26:40 | |
also murdered her brother Joseph Brawley | 0:26:40 | 0:26:43 | |
when he tried to defend his sister - | 0:26:43 | 0:26:45 | |
stabbing him three times with some decorating shears. | 0:26:45 | 0:26:49 | |
You, then, fled the scene. | 0:26:49 | 0:26:51 | |
Annie Brawley survived the attack. | 0:26:51 | 0:26:54 | |
I don't recognise any of these people. | 0:26:58 | 0:27:02 | |
I've never seen these people before. | 0:27:02 | 0:27:03 | |
There's more. | 0:27:04 | 0:27:06 | |
They allege that on May the 3rd, | 0:27:07 | 0:27:10 | |
you abducted Rose Stagg from her home, | 0:27:10 | 0:27:14 | |
imprisoned her unlawfully | 0:27:14 | 0:27:17 | |
and detained her against her will. | 0:27:17 | 0:27:19 | |
I know her. | 0:27:25 | 0:27:27 | |
Rose what, who did you say? | 0:27:29 | 0:27:31 | |
Stagg. | 0:27:31 | 0:27:33 | |
Perhaps you know Mrs Stagg better as Rose McGill? | 0:27:33 | 0:27:37 | |
Yes. | 0:27:39 | 0:27:40 | |
But I haven't seen her in the last four years or so. | 0:27:43 | 0:27:47 | |
When did you last see her, do you think? | 0:27:48 | 0:27:50 | |
Early summer. | 0:27:53 | 0:27:55 | |
2002. | 0:27:55 | 0:27:56 | |
2002 is ten years ago, not four. | 0:27:58 | 0:28:01 | |
Have you been listening to the charges, Mr Spector? | 0:28:01 | 0:28:04 | |
It's May 2012. | 0:28:04 | 0:28:06 | |
I'm sorry. | 0:28:10 | 0:28:11 | |
I'm sorry. | 0:28:12 | 0:28:13 | |
What happened to Rose? | 0:28:16 | 0:28:19 | |
She's alive. | 0:28:20 | 0:28:21 | |
The police say you led them to her. | 0:28:23 | 0:28:25 | |
She was found in the boot of her own car. | 0:28:25 | 0:28:28 | |
The police suggest you left her trapped. | 0:28:28 | 0:28:31 | |
Left her to die. | 0:28:31 | 0:28:33 | |
Why would I do that to Rose? | 0:28:38 | 0:28:40 | |
WATER SPLASHES | 0:28:54 | 0:28:56 | |
FAUCET SQUEAKS | 0:29:01 | 0:29:02 | |
'The police say they have a confession.' | 0:29:05 | 0:29:08 | |
That you made a number of admissions. | 0:29:08 | 0:29:10 | |
I've, um... | 0:29:12 | 0:29:13 | |
no memory of that. | 0:29:13 | 0:29:15 | |
We think it makes sense for your first appearance in court | 0:29:15 | 0:29:17 | |
to be as soon as possible | 0:29:17 | 0:29:18 | |
because it will initiate the evidential disclosure process. | 0:29:18 | 0:29:21 | |
Will you be strong enough? | 0:29:21 | 0:29:23 | |
Once we are in receipt of those documents, | 0:29:25 | 0:29:26 | |
we will look at the detail of that confession | 0:29:26 | 0:29:29 | |
and take you through every bit of evidence against you, | 0:29:29 | 0:29:31 | |
every witness statement, page by page, line by line. | 0:29:31 | 0:29:35 | |
Is that all clear? | 0:29:36 | 0:29:37 | |
Yes. | 0:29:40 | 0:29:41 | |
Any questions? | 0:29:43 | 0:29:44 | |
I just need some time for it all to sink in. | 0:29:50 | 0:29:52 | |
Of course. | 0:29:52 | 0:29:53 | |
Do you know who that is? | 0:29:57 | 0:29:59 | |
No. | 0:30:03 | 0:30:05 | |
Should I? | 0:30:06 | 0:30:08 | |
If any memories relevant to the case return to you, | 0:30:08 | 0:30:11 | |
please contact Louise here. | 0:30:11 | 0:30:13 | |
We're here to help you, Mr Spector. | 0:30:15 | 0:30:17 | |
We will guide you through this. | 0:30:19 | 0:30:21 | |
Thank you. | 0:30:21 | 0:30:22 | |
TRAFFIC BUSTLE | 0:30:47 | 0:30:49 | |
KNOCK AT DOOR | 0:31:10 | 0:31:12 | |
Sorry, ma'am. Rose Stagg is here to see you. | 0:31:12 | 0:31:15 | |
Set up an interview room, Dani. I'd like you to sit in. | 0:31:18 | 0:31:21 | |
Of course. | 0:31:21 | 0:31:23 | |
I woke to find him in bed with me. | 0:31:30 | 0:31:32 | |
SHE GASPS AND SCUFFLES | 0:31:32 | 0:31:34 | |
MUFFLED CRIES | 0:31:34 | 0:31:37 | |
He took me downstairs, | 0:31:37 | 0:31:39 | |
his hand over my mouth, | 0:31:39 | 0:31:41 | |
took me into the kitchen. | 0:31:41 | 0:31:43 | |
Go on. | 0:31:46 | 0:31:47 | |
He used my name. | 0:31:49 | 0:31:50 | |
He called me Rose. | 0:31:52 | 0:31:53 | |
'I thought, perhaps, I recognised the voice. | 0:31:59 | 0:32:02 | |
'He said he didn't want to hurt me or my lovely family... | 0:32:05 | 0:32:08 | |
'..but that he would if I cried out. | 0:32:10 | 0:32:12 | |
'And then he released me. | 0:32:16 | 0:32:17 | |
'And when I turned round, I recognised him. | 0:32:21 | 0:32:24 | |
'What did you think in that moment? | 0:32:28 | 0:32:30 | |
'Just for a moment... | 0:32:35 | 0:32:37 | |
'..I thought that maybe it would be all right. | 0:32:38 | 0:32:41 | |
'That maybe it was a joke, | 0:32:42 | 0:32:44 | |
'a game.' | 0:32:44 | 0:32:45 | |
What did you say? | 0:33:00 | 0:33:01 | |
I just said, "Peter?" | 0:33:03 | 0:33:06 | |
He... | 0:33:14 | 0:33:15 | |
made me dress from clothes that were hanging in the utility room. | 0:33:15 | 0:33:19 | |
He made me write a note. | 0:33:21 | 0:33:22 | |
He told me what to put. | 0:33:22 | 0:33:24 | |
The house seemed so silent. | 0:33:27 | 0:33:29 | |
The sound of the pen on the paper | 0:33:31 | 0:33:34 | |
seemed really loud in my head. | 0:33:34 | 0:33:36 | |
Like a whooshing. | 0:33:37 | 0:33:38 | |
All I could think about was getting him out of there, | 0:33:41 | 0:33:44 | |
away from Nancy. | 0:33:44 | 0:33:46 | |
Did you resist him at all? | 0:33:48 | 0:33:50 | |
Er... I was numb. | 0:33:52 | 0:33:54 | |
I didn't really struggle until he was walking me | 0:33:57 | 0:34:00 | |
towards that awful building. | 0:34:00 | 0:34:02 | |
I thought, "If he takes me in there... | 0:34:06 | 0:34:09 | |
"..I'm going to die. | 0:34:10 | 0:34:12 | |
"I'm going to be the next victim." | 0:34:15 | 0:34:17 | |
That's when I tried to run. | 0:34:19 | 0:34:21 | |
But he was too strong. | 0:34:24 | 0:34:26 | |
He made tapes of you. | 0:34:35 | 0:34:36 | |
We found edited versions of those tapes on his phone. | 0:34:38 | 0:34:41 | |
You've seen them? | 0:34:44 | 0:34:46 | |
He tied me to a chair. | 0:34:53 | 0:34:56 | |
It was fixed to the ground. | 0:34:56 | 0:34:58 | |
And he sat behind the camera, so that when I looked at him, | 0:35:00 | 0:35:03 | |
I was looking directly into the lens. | 0:35:03 | 0:35:06 | |
He hardly spoke, he... | 0:35:08 | 0:35:10 | |
He just stared at me. | 0:35:12 | 0:35:13 | |
I tried everything I could to get through to him. | 0:35:19 | 0:35:22 | |
I begged him, I flattered him, I insulted him. | 0:35:24 | 0:35:28 | |
I tried to provoke him, even. | 0:35:28 | 0:35:30 | |
He didn't respond. | 0:35:32 | 0:35:34 | |
His eyes were open, but it was like he was in a trance. | 0:35:36 | 0:35:39 | |
Did he sexually assault you? | 0:35:41 | 0:35:43 | |
No. | 0:35:45 | 0:35:46 | |
I don't think so. | 0:35:47 | 0:35:49 | |
Did he perform sex acts on himself? | 0:35:51 | 0:35:54 | |
Did he masturbate in front of you? | 0:35:54 | 0:35:55 | |
No. Just the filming. | 0:35:57 | 0:35:59 | |
Are those healing all right? | 0:36:05 | 0:36:06 | |
I'm told I did it to myself. | 0:36:10 | 0:36:12 | |
I have no memory of that. | 0:36:14 | 0:36:17 | |
We found the broken lens from a pair of sunglasses | 0:36:17 | 0:36:20 | |
in the boot of your car. | 0:36:20 | 0:36:22 | |
Your blood was on them. There were no other fingerprints. | 0:36:22 | 0:36:25 | |
I can't work out if it's just marks... | 0:36:29 | 0:36:32 | |
..or if it's a message. | 0:36:34 | 0:36:35 | |
When I first saw it... | 0:36:38 | 0:36:39 | |
..it looked like an attempt to write "I love you". | 0:36:40 | 0:36:44 | |
Breathe. | 0:36:54 | 0:36:56 | |
ROSE GROANS | 0:36:56 | 0:36:58 | |
I always thought that I wanted... | 0:37:06 | 0:37:10 | |
..love and security. | 0:37:11 | 0:37:12 | |
Now I just | 0:37:14 | 0:37:16 | |
feel like I'm floating free... | 0:37:16 | 0:37:19 | |
..in a void. | 0:37:21 | 0:37:22 | |
SHE SNIFFS | 0:37:24 | 0:37:26 | |
Oh... | 0:37:26 | 0:37:28 | |
You have such a strong sense of purpose. | 0:37:32 | 0:37:35 | |
I feel like... | 0:37:37 | 0:37:38 | |
there's nothing beneath my feet right now, like... | 0:37:38 | 0:37:41 | |
..nothing to steady them. | 0:37:43 | 0:37:45 | |
It's as if I'm slightly drunk...! | 0:37:50 | 0:37:52 | |
Rose. Rose... | 0:37:53 | 0:37:55 | |
Remember... | 0:37:58 | 0:37:59 | |
..you survived. | 0:38:00 | 0:38:01 | |
You got through it. | 0:38:05 | 0:38:07 | |
It's in the past. | 0:38:10 | 0:38:11 | |
-TV: -'Paul Spector, a 32-year-old bereavement counsellor | 0:38:27 | 0:38:30 | |
'from South Belfast charged with four counts of murder | 0:38:30 | 0:38:34 | |
'is due to make his first appearance in court today. | 0:38:34 | 0:38:37 | |
'The four female victims, all young professional women in their 30s, | 0:38:37 | 0:38:41 | |
'were attacked in their homes at night. | 0:38:41 | 0:38:44 | |
'Three of those women died of manual or ligature strangulation. | 0:38:44 | 0:38:48 | |
'Spector, a married man and a father of two, | 0:38:49 | 0:38:51 | |
'is also charged with the attempted murder of accountant Annie Brawley | 0:38:51 | 0:38:55 | |
'and the abduction and unlawful imprisonment | 0:38:55 | 0:38:58 | |
'of Belfast radiologist Rose Stagg...' | 0:38:58 | 0:39:00 | |
HE GROANS | 0:39:17 | 0:39:19 | |
HE SIGHS | 0:39:19 | 0:39:21 | |
I worry this is all too soon for you. | 0:39:31 | 0:39:34 | |
I'll be fine. | 0:39:35 | 0:39:37 | |
HUM OF CONVERSATION | 0:39:48 | 0:39:51 | |
CAR APPROACHES | 0:39:54 | 0:39:56 | |
REPORTERS MURMUR | 0:39:58 | 0:40:00 | |
Are you getting this? The victims' families... | 0:40:00 | 0:40:03 | |
Detective Superintendent Gibson! | 0:40:03 | 0:40:04 | |
The man you have in custody, will he be appearing in court today? | 0:40:04 | 0:40:07 | |
Will you be making a statement any time soon? | 0:40:07 | 0:40:09 | |
Chief Superintendent, is Spector appearing in person today? | 0:40:09 | 0:40:12 | |
-ENGINE TURNS -Give us an update on the condition of Rose Stagg... | 0:40:12 | 0:40:15 | |
INDISTINCT CONVERSATION | 0:40:32 | 0:40:34 | |
Are you ready for this? | 0:40:36 | 0:40:38 | |
I'm a bit nervous, but, yeah. | 0:40:38 | 0:40:40 | |
Yeah, shall we head up, then? | 0:40:40 | 0:40:42 | |
-How are you? -Not too bad... | 0:40:43 | 0:40:44 | |
TAPE RIPS | 0:40:58 | 0:41:00 | |
Stand there. | 0:41:20 | 0:41:21 | |
HANDCUFFS CLINK AND JANGLE | 0:41:26 | 0:41:29 | |
Look straight into that camera. | 0:41:32 | 0:41:33 | |
You will be able to see the judge and the legal teams. | 0:41:33 | 0:41:37 | |
Answer any questions clearly. | 0:41:37 | 0:41:38 | |
HUSHED CONVERSATION | 0:41:50 | 0:41:53 | |
The prosecution has suggested | 0:41:57 | 0:41:59 | |
we read the shortened version of the charge. | 0:41:59 | 0:42:01 | |
-Are you happy enough with that? -Yeah, that's fine. | 0:42:01 | 0:42:04 | |
CLERK: All rise. | 0:42:09 | 0:42:10 | |
Thank you. Please sit. | 0:42:17 | 0:42:19 | |
Are you ready to proceed, ma'am? | 0:42:24 | 0:42:26 | |
I am. | 0:42:28 | 0:42:29 | |
Mr Spector, can you see and hear the proceedings? | 0:42:33 | 0:42:37 | |
Yes. | 0:42:37 | 0:42:38 | |
The charges against the accused are stated as four counts of murder, | 0:42:38 | 0:42:42 | |
one of attempted murder and one of abduction | 0:42:42 | 0:42:46 | |
and unlawful imprisonment. | 0:42:46 | 0:42:49 | |
'Can you confirm for the court that you are Peter Paul Spector?' | 0:42:49 | 0:42:51 | |
Yes. | 0:42:53 | 0:42:54 | |
'That your date of birth is the 25th May, 1979.' | 0:42:54 | 0:42:57 | |
That's correct. | 0:42:57 | 0:42:59 | |
And that you live at 64, Tiberias Drive, Belfast, | 0:42:59 | 0:43:03 | |
BT6 7KM? | 0:43:03 | 0:43:05 | |
'So I've been told.' | 0:43:06 | 0:43:08 | |
Why is he answering in that manner? | 0:43:12 | 0:43:14 | |
Ma'am, if I may. | 0:43:14 | 0:43:16 | |
My client has to answer in that manner | 0:43:17 | 0:43:19 | |
because he has suffered significant memory loss. | 0:43:19 | 0:43:21 | |
As you no doubt know, Mr Spector was shot while in police custody. | 0:43:21 | 0:43:26 | |
He lost his spleen as a result and was in a coma for some time. | 0:43:26 | 0:43:31 | |
The reason he is appearing from hospital | 0:43:31 | 0:43:33 | |
is that he is still being held there in intensive care. | 0:43:33 | 0:43:36 | |
I have written reports from the ICU Consultant, Dr Spencer, | 0:43:36 | 0:43:40 | |
and from the Consultant Neuropsychologist Dr Alison Walden, | 0:43:40 | 0:43:44 | |
that explain the nature and degree of my client's disability. | 0:43:44 | 0:43:49 | |
Dr Walden is approved under Part 2 of the Mental Health Order 1986. | 0:43:49 | 0:43:54 | |
There's information there about the treatment Mr Spector has undergone | 0:43:54 | 0:43:59 | |
and an account of his behaviour in hospital. | 0:43:59 | 0:44:01 | |
The memory loss, you will see, | 0:44:01 | 0:44:03 | |
covers a period of approximately six years | 0:44:03 | 0:44:05 | |
up to and including | 0:44:05 | 0:44:07 | |
the recent shooting. | 0:44:07 | 0:44:09 | |
One of the primary foundations of criminal law | 0:44:09 | 0:44:12 | |
is that all defendants are capable of actively participating | 0:44:12 | 0:44:17 | |
'in their defence. | 0:44:17 | 0:44:19 | |
'Mr Spector's amnesia prevents him from so doing.' | 0:44:19 | 0:44:22 | |
HE PANTS | 0:44:22 | 0:44:24 | |
'Whilst Mr Spector understands that he is in court | 0:44:24 | 0:44:26 | |
'and charged with a number of criminal offences | 0:44:26 | 0:44:29 | |
'and understands the nature and object | 0:44:29 | 0:44:31 | |
'and the possible consequences of the proceedings,' | 0:44:31 | 0:44:33 | |
he cannot enter a plea, | 0:44:33 | 0:44:35 | |
he cannot consult with or assist his lawyer, | 0:44:35 | 0:44:38 | |
he cannot give evidence in his own defence. | 0:44:38 | 0:44:40 | |
On that basis, I feel I need to raise the issue of competence | 0:44:40 | 0:44:44 | |
as to whether Mr Spector is fit to stand trial. | 0:44:44 | 0:44:47 | |
Mr Healy, let me stop you there. | 0:44:47 | 0:44:49 | |
The concerns you have raised are noted, | 0:44:49 | 0:44:52 | |
but you know as well as I do | 0:44:52 | 0:44:53 | |
that it's not a matter on which this court can adjudicate. | 0:44:53 | 0:44:57 | |
Mr Spector, do you understand that your case must be sent | 0:45:01 | 0:45:05 | |
'to Crown Court?' | 0:45:05 | 0:45:07 | |
Yes. | 0:45:07 | 0:45:08 | |
'Then you will be held on remand in hospital | 0:45:09 | 0:45:12 | |
'until arrangements can be made | 0:45:12 | 0:45:14 | |
'to transfer you to a secure psychiatric clinic | 0:45:14 | 0:45:17 | |
'where more tests can be done | 0:45:17 | 0:45:20 | |
'to determine the nature of your mental disability.' | 0:45:20 | 0:45:23 | |
HE BREATHES RAGGEDLY | 0:45:23 | 0:45:25 | |
SHOUTING AND CLAMOUR | 0:45:36 | 0:45:40 | |
That's the guy who's defending the murderer! | 0:45:43 | 0:45:45 | |
Mr Healy, how does it feel to be defending the Belfast Strangler? | 0:45:45 | 0:45:47 | |
The ALLEGED Belfast Strangler. | 0:45:47 | 0:45:49 | |
SHOUTING FADES | 0:45:49 | 0:45:52 | |
-TV: -'Dressed in a blue sweatshirt and tracksuit bottoms, | 0:45:55 | 0:45:58 | |
'Mr Spector spoke only to confirm his name and date of birth | 0:45:58 | 0:46:01 | |
'during the ten-minute hearing, | 0:46:01 | 0:46:02 | |
'at that point proceedings took a bizarre twist | 0:46:02 | 0:46:04 | |
'as it became apparent that the alleged serial killer | 0:46:04 | 0:46:07 | |
'is suffering from significant memory loss. | 0:46:07 | 0:46:10 | |
'Mr Spector was remanded in custody to undergo further medical | 0:46:10 | 0:46:13 | |
'and psychiatric assessment. | 0:46:13 | 0:46:14 | |
'Following the hearing, the public prosecution service | 0:46:14 | 0:46:17 | |
'confirmed that Sally Ann Spector | 0:46:17 | 0:46:19 | |
'will appear in the Crown Court on Monday 2nd July | 0:46:19 | 0:46:22 | |
'to face charges of perverting the course of justice. | 0:46:22 | 0:46:25 | |
'The prosecution claims that Mr Spector's wife, | 0:46:25 | 0:46:27 | |
'provided her husband with false alibis.' | 0:46:27 | 0:46:30 | |
SIRENS WAIL | 0:46:30 | 0:46:32 | |
MOBILE RINGS | 0:46:40 | 0:46:42 | |
Gibson? | 0:46:50 | 0:46:52 | |
-MAN: -'Superintendent Gibson?' | 0:46:52 | 0:46:54 | |
Yes. | 0:46:54 | 0:46:56 | |
'I'm August Larson. | 0:46:56 | 0:46:57 | |
'I'm the consultant psychiatrist | 0:46:59 | 0:47:01 | |
'who has been asked to assess Paul Spector.' | 0:47:01 | 0:47:03 | |
It's an odd time to be calling, Doctor. | 0:47:06 | 0:47:08 | |
Are you still working? | 0:47:11 | 0:47:12 | |
'Yes.' | 0:47:13 | 0:47:14 | |
Well, there you are. | 0:47:14 | 0:47:16 | |
Before he's moved here, | 0:47:17 | 0:47:19 | |
I need to determine the risk of violence towards himself | 0:47:19 | 0:47:23 | |
and others and plan his management. | 0:47:23 | 0:47:25 | |
Have you seen the list of crimes he's been charged with? | 0:47:27 | 0:47:30 | |
'I received that information from the court, yes.' | 0:47:31 | 0:47:34 | |
In my experience, a history of previous violence | 0:47:38 | 0:47:41 | |
is the best predictor for future violence | 0:47:41 | 0:47:44 | |
for someone whether they are mentally disordered or not. | 0:47:44 | 0:47:48 | |
'And Paul Spector is a violent sexual sadist.' | 0:47:48 | 0:47:53 | |
Why are you so kind to me? | 0:48:00 | 0:48:02 | |
If I've done the things that the... | 0:48:06 | 0:48:08 | |
police say I've done, then I'm a monster. | 0:48:08 | 0:48:11 | |
It's my job. | 0:48:13 | 0:48:14 | |
What? | 0:48:20 | 0:48:22 | |
It says in your notes that there were tears in your eyes | 0:48:24 | 0:48:27 | |
during your surgery. | 0:48:27 | 0:48:29 | |
That you were crying. | 0:48:30 | 0:48:31 | |
Was I? | 0:48:35 | 0:48:37 | |
Does that mean anything to you? | 0:48:39 | 0:48:42 | |
Perhaps... | 0:48:46 | 0:48:47 | |
I just... | 0:48:49 | 0:48:51 | |
..can't believe the memory loss is real. | 0:48:52 | 0:48:54 | |
He's just the sort of person who would feign amnesia | 0:48:56 | 0:48:59 | |
if he felt that there was something to be gained from it. | 0:48:59 | 0:49:02 | |
'Even just for the sheer delight of duping people, | 0:49:02 | 0:49:06 | |
'particularly experts.' | 0:49:06 | 0:49:07 | |
-HE SCOFFS -Someone like me, for example? | 0:49:07 | 0:49:11 | |
'I'm just saying that, from my conversations with him, | 0:49:12 | 0:49:15 | |
'it seems to me that he exhibits, | 0:49:15 | 0:49:16 | |
'if anything, a superior memory for his violence.' | 0:49:16 | 0:49:21 | |
It's clear to me that he rehearsed the crimes in his mind | 0:49:21 | 0:49:25 | |
over and over. | 0:49:25 | 0:49:27 | |
They were heavily scripted. | 0:49:28 | 0:49:30 | |
And so, the crimes themselves were memorable | 0:49:30 | 0:49:34 | |
both in the way that they match the script | 0:49:34 | 0:49:36 | |
and in the way that they differ. | 0:49:36 | 0:49:38 | |
So, in my view, it's... | 0:49:40 | 0:49:42 | |
..extremely unlikely that he has... | 0:49:43 | 0:49:45 | |
'forgotten anything.' | 0:49:45 | 0:49:47 | |
Faced with memory loss, | 0:49:47 | 0:49:49 | |
there is only one way a clinician can go | 0:49:49 | 0:49:53 | |
and that is to investigate. | 0:49:53 | 0:49:54 | |
If we take him here, | 0:49:56 | 0:49:58 | |
then that is what I intend to do. | 0:49:58 | 0:50:01 | |
'If you have the time, | 0:50:01 | 0:50:02 | |
'I'd really appreciate getting a premorbid appraisal | 0:50:02 | 0:50:05 | |
'of Mr Spector from you. | 0:50:05 | 0:50:07 | |
'As someone who has had extensive dealings with him.' | 0:50:07 | 0:50:10 | |
Anything at all you can tell me about him would be extremely useful. | 0:50:11 | 0:50:15 | |
I'll help in any way I can. | 0:50:18 | 0:50:20 | |
'Thank you. | 0:50:21 | 0:50:23 | |
'Good night.' | 0:50:24 | 0:50:25 | |
Good night. | 0:50:27 | 0:50:28 | |
-SPECTOR: -'Everything went dark.' | 0:50:41 | 0:50:43 | |
And did time seem to speed up or slow down? | 0:50:44 | 0:50:47 | |
It sped up. | 0:50:49 | 0:50:50 | |
I was rushing through a tunnel. | 0:50:52 | 0:50:54 | |
And did you see or feel surrounded by a brilliant light? | 0:50:57 | 0:51:00 | |
-There was a light. -Can you describe it? | 0:51:01 | 0:51:04 | |
-Incredibly bright. Blinding. -And hot? | 0:51:07 | 0:51:10 | |
No, not hot. | 0:51:11 | 0:51:13 | |
Did you come to a border or a point of no return? | 0:51:15 | 0:51:18 | |
There was a point. Um... | 0:51:22 | 0:51:24 | |
I felt I could have gone on. | 0:51:24 | 0:51:26 | |
But there were voices calling me back. | 0:51:27 | 0:51:30 | |
What voices? | 0:51:30 | 0:51:32 | |
My daughter. | 0:51:33 | 0:51:34 | |
Olivia. | 0:51:34 | 0:51:36 | |
'And was there anyone else there known to you, | 0:52:04 | 0:52:07 | |
'living or dead?' | 0:52:07 | 0:52:08 | |
Yes. | 0:52:10 | 0:52:11 | |
Who? | 0:52:11 | 0:52:12 | |
I think my mother. | 0:52:18 | 0:52:19 | |
And what happened? | 0:52:21 | 0:52:22 | |
How did you feel in her presence? | 0:52:25 | 0:52:27 | |
Afraid. | 0:52:35 | 0:52:37 | |
Did she speak to you? | 0:52:38 | 0:52:40 | |
She was calling me. | 0:52:43 | 0:52:44 | |
I think she wanted me to come to her. | 0:52:46 | 0:52:49 | |
Towards the light. | 0:52:50 | 0:52:51 | |
But there was other voices. | 0:52:52 | 0:52:55 | |
My daughter calling me back. | 0:52:55 | 0:52:57 | |
And did you want to come back to your body? | 0:53:01 | 0:53:03 | |
Come back to life? | 0:53:03 | 0:53:05 | |
No. | 0:53:10 | 0:53:11 | |
But I couldn't just abandon her. | 0:53:14 | 0:53:16 | |
Is that when you cried? | 0:53:18 | 0:53:19 | |
Hey. | 0:53:25 | 0:53:26 | |
Drink it all up. | 0:53:35 | 0:53:37 | |
Good girl. | 0:53:42 | 0:53:43 | |
You came close with dying. | 0:54:20 | 0:54:22 | |
What do you now understand death to be? | 0:54:25 | 0:54:28 | |
What does death mean to you now? | 0:54:28 | 0:54:30 | |
I know that life | 0:54:34 | 0:54:35 | |
is our only true possession. | 0:54:35 | 0:54:37 | |
And death? | 0:54:40 | 0:54:41 | |
-ANDERSON: -'I've found a murder that looks promising.' | 0:54:50 | 0:54:52 | |
Really? The right initials? | 0:54:52 | 0:54:55 | |
That's not the connection. | 0:54:55 | 0:54:56 | |
A law student. Susan Harper. | 0:54:56 | 0:54:59 | |
Do you think she looks right? | 0:55:00 | 0:55:01 | |
-Yes, absolutely. Just a bit younger. -21. | 0:55:02 | 0:55:05 | |
The only problem is there is someone doing time for it. | 0:55:05 | 0:55:09 | |
It's an individual called David Alvarez. | 0:55:09 | 0:55:12 | |
I remembered I saw his name yesterday on the list of children | 0:55:12 | 0:55:15 | |
who were in Gortnacull at the same time as Spector. | 0:55:15 | 0:55:18 | |
So, I've done some digging. | 0:55:18 | 0:55:19 | |
And they are one and the same. | 0:55:19 | 0:55:22 | |
The David Alvarez who's doing time for the murder | 0:55:22 | 0:55:24 | |
is the same David Alvarez | 0:55:24 | 0:55:26 | |
who was a fellow pupil of Spector's at the home. | 0:55:26 | 0:55:29 | |
Why was Alvarez convicted? | 0:55:29 | 0:55:30 | |
His DNA on her body. | 0:55:30 | 0:55:33 | |
A subsequent confession. | 0:55:33 | 0:55:36 | |
That's pretty conclusive. | 0:55:36 | 0:55:37 | |
What year is this? | 0:55:39 | 0:55:40 | |
August 2002. | 0:55:40 | 0:55:43 | |
In London. | 0:55:44 | 0:55:46 | |
Now, there's a gap in Spector's time-line. | 0:55:47 | 0:55:50 | |
We don't know where he was or what he was doing. | 0:55:51 | 0:55:55 | |
No, we don't. | 0:55:56 | 0:55:58 | |
SEA SWELLS AND BREAKS | 0:57:06 | 0:57:09 | |
I'll see you in the morning. | 0:57:25 | 0:57:27 | |
Try and get some sleep. | 0:57:27 | 0:57:29 | |
I'll pray for you. | 0:57:39 | 0:57:40 |