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We've seen fragments before, enough to confirm that he kept journals, | 0:00:02 | 0:00:04 | |
but nothing like this. Are they just fantasies that sustain him? | 0:00:04 | 0:00:07 | |
Or are they a record of nine more murders? | 0:00:07 | 0:00:10 | |
The police say they have a confession, | 0:00:10 | 0:00:12 | |
that you made a number of admissions. | 0:00:12 | 0:00:14 | |
I... I don't remember any of that. | 0:00:14 | 0:00:16 | |
-I understand he's conscious. -Yes, | 0:00:16 | 0:00:18 | |
but there is an issue. | 0:00:18 | 0:00:20 | |
It seems Mr Spector suffered some memory loss. | 0:00:20 | 0:00:23 | |
-Are we supposed to be taking this seriously? -I think we have to. | 0:00:23 | 0:00:26 | |
-Do you know who that is? -No. | 0:00:26 | 0:00:29 | |
You will be held | 0:00:29 | 0:00:30 | |
on remand in hospital until arrangements can be made to | 0:00:30 | 0:00:33 | |
transfer you to a secure psychiatric clinic. | 0:00:33 | 0:00:36 | |
If she told the truth in the first place, | 0:00:36 | 0:00:38 | |
about Spector's whereabouts, then perhaps | 0:00:38 | 0:00:41 | |
Rose Stagg would not have been put through the ordeal that she has. | 0:00:41 | 0:00:44 | |
Drink it all up. | 0:00:44 | 0:00:45 | |
Good girl. | 0:00:46 | 0:00:48 | |
Why are you so kind to me? | 0:00:48 | 0:00:50 | |
If I've done the things that the police say I've done | 0:00:50 | 0:00:52 | |
then I'm a monster. | 0:00:52 | 0:00:53 | |
It's my job. | 0:00:53 | 0:00:55 | |
He's just the sort of person who would feign | 0:00:55 | 0:00:57 | |
amnesia if he felt that there was something to be gained from it, | 0:00:57 | 0:01:00 | |
'even for the sheer delight of duping people, particularly experts.' | 0:01:00 | 0:01:03 | |
Someone like me, for example. | 0:01:03 | 0:01:05 | |
I found a murder that looks promising. | 0:01:09 | 0:01:11 | |
Law student, Susan Harper. | 0:01:11 | 0:01:14 | |
The only problem is, there is someone doing time for it. | 0:01:14 | 0:01:17 | |
I'll pray for you. | 0:01:17 | 0:01:18 | |
This programme contains some strong language and scenes which some viewers may find upsetting | 0:01:21 | 0:01:28 | |
SHE GASPS | 0:02:18 | 0:02:20 | |
SHE GASPS | 0:02:26 | 0:02:27 | |
SHE GASPS | 0:02:36 | 0:02:38 | |
Rise and shine. | 0:03:10 | 0:03:11 | |
Time to get up. | 0:03:20 | 0:03:21 | |
Stella, for star. | 0:03:25 | 0:03:27 | |
Five more minutes, Daddy, please. | 0:03:28 | 0:03:30 | |
RAPID BEEPING | 0:04:35 | 0:04:37 | |
There are no scratches or nail marks on | 0:05:15 | 0:05:17 | |
the soft parts of the victim's face, no bruising or lacerations to | 0:05:17 | 0:05:22 | |
the mouth or nose to suggest they were held closed by a hand. | 0:05:22 | 0:05:26 | |
The original case file suggests | 0:05:26 | 0:05:28 | |
that David Alvarez suffocated her using a pillow. | 0:05:28 | 0:05:31 | |
There was no saliva, blood or tissue cells | 0:05:31 | 0:05:33 | |
on any of the pillows, were there? | 0:05:33 | 0:05:35 | |
They could have been washed. | 0:05:35 | 0:05:37 | |
Yes, they could. | 0:05:38 | 0:05:39 | |
Do we have the toxicology report? | 0:05:42 | 0:05:43 | |
Page five, Ma'am. | 0:05:43 | 0:05:44 | |
When was the report done? | 0:05:49 | 0:05:50 | |
Susan Harper's body was found cool to the touch on a Monday morning. | 0:05:50 | 0:05:54 | |
Toxicology was 24 hours later, during autopsy. | 0:05:54 | 0:05:58 | |
Tests 24 hours after that on the Wednesday. | 0:05:58 | 0:06:01 | |
Based on these figures, | 0:06:01 | 0:06:03 | |
I'd say the victim took cocaine | 0:06:03 | 0:06:05 | |
within hours, minutes, even, from death. | 0:06:05 | 0:06:08 | |
Do we have anything at all to put Paul Spector | 0:06:10 | 0:06:13 | |
or Peter Baldwin in London in 2002? | 0:06:13 | 0:06:16 | |
Nothing as yet, Ma'am. | 0:06:16 | 0:06:18 | |
Was there a plastic bag found at the scene? | 0:06:25 | 0:06:28 | |
No mention that I've seen. | 0:06:29 | 0:06:30 | |
Well, Spector is due to be moved today, | 0:06:36 | 0:06:39 | |
which means the next part of his assessment is about to begin. | 0:06:39 | 0:06:45 | |
We have to keep believing that it will go to trial... | 0:06:47 | 0:06:49 | |
..and when it does, we have to put together | 0:06:51 | 0:06:53 | |
as strong an evidential case to the PPS as we possibly can. | 0:06:53 | 0:06:56 | |
We have to be ready. | 0:06:58 | 0:07:00 | |
The truth of a confession is immaterial. | 0:07:02 | 0:07:04 | |
What is of crucial importance is how the confession was obtained, | 0:07:04 | 0:07:08 | |
not whether or not it's true. | 0:07:08 | 0:07:09 | |
The court must exclude the | 0:07:09 | 0:07:11 | |
confession if it finds it was obtained by oppression | 0:07:11 | 0:07:13 | |
or under circumstances likely to render it unreliable. | 0:07:13 | 0:07:16 | |
I've read the transcripts. I didn't see any signs of oppression. | 0:07:16 | 0:07:20 | |
I'm not so sure. The circumstances are certainly unusual. | 0:07:20 | 0:07:24 | |
Why is a Superintendent doing the job of a Constable or Sergeant, | 0:07:24 | 0:07:28 | |
interviewing a suspect? | 0:07:28 | 0:07:29 | |
Surely, when you get to her level, you supervise, | 0:07:29 | 0:07:31 | |
manage and direct the officers, not do their job? | 0:07:31 | 0:07:34 | |
It was at his request, "Just you, Stella, no-one else." | 0:07:34 | 0:07:37 | |
That's my point. | 0:07:37 | 0:07:38 | |
She didn't really use any standard interview techniques. | 0:07:39 | 0:07:42 | |
She didn't offer psychological excuses | 0:07:42 | 0:07:44 | |
or minimise the seriousness of Spector's crimes. | 0:07:44 | 0:07:47 | |
She didn't praise or flatter. | 0:07:47 | 0:07:49 | |
She even used leading questions that elicited one-word answers. | 0:07:49 | 0:07:53 | |
Almost not like a police interview at all - | 0:07:53 | 0:07:57 | |
more like an intimate conversation. | 0:07:57 | 0:07:59 | |
She didn't need to establish a rapport, | 0:07:59 | 0:08:01 | |
because their relationship had | 0:08:01 | 0:08:03 | |
already been established on the phone. | 0:08:03 | 0:08:05 | |
While they were still hunting him, | 0:08:05 | 0:08:07 | |
it's claimed Spector and Gibson had private conversations. | 0:08:07 | 0:08:10 | |
She gave him her personal phone number. | 0:08:10 | 0:08:13 | |
They even suggest he was in her hotel room. | 0:08:15 | 0:08:17 | |
Why would he do something so risky just to leave an entry in her diary? | 0:08:18 | 0:08:22 | |
It speaks of a kind of obsession. | 0:08:22 | 0:08:24 | |
-RECORDING: -'Stella? | 0:08:27 | 0:08:29 | |
'Yes. | 0:08:32 | 0:08:33 | |
'How nice to hear your voice again. | 0:08:33 | 0:08:36 | |
'Is that you, Peter? | 0:08:39 | 0:08:40 | |
'Yes. | 0:08:41 | 0:08:42 | |
'Why are you calling me? | 0:08:43 | 0:08:45 | |
'Because I'm looking up at the sky. | 0:08:45 | 0:08:47 | |
'Stella. Shining star. | 0:08:50 | 0:08:53 | |
'It's a beautiful night. | 0:08:55 | 0:08:57 | |
'Made me think of you.' | 0:08:57 | 0:08:59 | |
Do we have that diary, that entry? | 0:09:01 | 0:09:03 | |
It hasn't been disclosed so far. | 0:09:03 | 0:09:05 | |
Get it. | 0:09:05 | 0:09:06 | |
So... | 0:09:07 | 0:09:08 | |
..she seduced a confession from him? | 0:09:10 | 0:09:12 | |
Maybe. | 0:09:12 | 0:09:13 | |
If you can support what you're suggesting with case law, | 0:09:13 | 0:09:16 | |
legal principals, I might include it in the brief. | 0:09:16 | 0:09:19 | |
These are all of the books from Spector's lock-up, Ma'am. | 0:09:42 | 0:09:44 | |
Ma'am, there's something you should see. | 0:10:36 | 0:10:39 | |
The wife of the man the police claim is The Belfast Strangler was | 0:10:40 | 0:10:44 | |
involved in a bizarre incident earlier this morning, | 0:10:44 | 0:10:48 | |
captured on video by a passer-by as it unfolded. | 0:10:48 | 0:10:51 | |
Images that some viewers may find disturbing. | 0:10:51 | 0:10:54 | |
-ON REPORT: -Jeez. -Oh, my God, that's a car. -Hey, hey! -Michael, be careful! | 0:10:54 | 0:10:59 | |
-Hey, hey! -Oh, my God. | 0:11:01 | 0:11:03 | |
The car being engulfed by the incoming tide | 0:11:06 | 0:11:08 | |
belongs to Sally-Ann Spector, 32. | 0:11:08 | 0:11:12 | |
The windows are raised, the doors are locked. | 0:11:12 | 0:11:15 | |
Inside are her two children. | 0:11:15 | 0:11:17 | |
Oh, my God! | 0:11:17 | 0:11:18 | |
The girl, aged eight, can be heard calling for help. | 0:11:18 | 0:11:20 | |
-CHILD ON REPORT: -'Help us, please, help! | 0:11:20 | 0:11:23 | |
'The lock. Hey, hey! | 0:11:23 | 0:11:24 | |
'I can't wake up Liam! | 0:11:24 | 0:11:26 | |
'Please, get it open! | 0:11:26 | 0:11:28 | |
-WOMAN ON REPORT: -'Michael!' | 0:11:28 | 0:11:30 | |
(Jesus Christ.) | 0:11:30 | 0:11:31 | |
'Mummy!' | 0:11:31 | 0:11:33 | |
At last, it seems the doors are unlocked | 0:11:33 | 0:11:35 | |
and the two children are lifted clear and carried to safety. | 0:11:35 | 0:11:38 | |
In the background, Sally-Ann Spector can be seen walking | 0:11:40 | 0:11:43 | |
unsteadily away from the car through the shallows. | 0:11:43 | 0:11:46 | |
-WOMAN ON REPORT: -Over here. -Are you all right? She's so cold. | 0:11:48 | 0:11:51 | |
A moment later, the car is almost washed away. | 0:11:51 | 0:11:55 | |
-WOMAN ON REPORT: -Somebody help that woman! | 0:11:55 | 0:11:57 | |
The family was airlifted by police helicopter to the | 0:12:01 | 0:12:04 | |
Belfast General Hospital, where Paul Spector is being treated for | 0:12:04 | 0:12:08 | |
gunshot wounds he sustained in Police cust... | 0:12:08 | 0:12:11 | |
TV SWITCHES OFF | 0:12:11 | 0:12:12 | |
How were we to know she was that desperate? | 0:12:15 | 0:12:17 | |
It's what women do with their anger, Jim. | 0:12:23 | 0:12:25 | |
They harm themselves or extensions of themselves, their children. | 0:12:27 | 0:12:31 | |
What frame of mind must she have been in to think that they | 0:12:34 | 0:12:38 | |
were all better off dead? | 0:12:38 | 0:12:39 | |
Instead of caring for her, supporting her, all we could do | 0:12:41 | 0:12:45 | |
was drag her through the courts and threaten her with prison. | 0:12:45 | 0:12:50 | |
It wasn't just down to me. | 0:12:50 | 0:12:52 | |
The DPP was of a similar mind. | 0:12:52 | 0:12:55 | |
Yeah. | 0:12:57 | 0:12:59 | |
Well, now you can add attempted murder to her list of charges. | 0:12:59 | 0:13:01 | |
All I ever wanted to do | 0:13:07 | 0:13:08 | |
was keep those children safe, Stella, that's all! | 0:13:08 | 0:13:11 | |
MOBILE RINGS | 0:13:17 | 0:13:19 | |
Healy. | 0:13:19 | 0:13:20 | |
Right, thanks for letting me know. | 0:13:21 | 0:13:24 | |
-Spector's wife and children have been taken to the General. -Why? | 0:13:24 | 0:13:28 | |
It's been on the news. See if you can find it on your phone. | 0:13:28 | 0:13:30 | |
TOILET FLUSHES | 0:14:12 | 0:14:14 | |
Point of care testing found benzos in the girl's urine. | 0:14:33 | 0:14:36 | |
We haven't managed a sample from the other two. | 0:14:36 | 0:14:38 | |
The son, Liam, is GCS. 12, 13. | 0:14:38 | 0:14:41 | |
With stimulation, he's rousable. | 0:14:41 | 0:14:44 | |
Check the summary care record. | 0:14:44 | 0:14:46 | |
I see she's on the blues. | 0:14:54 | 0:14:56 | |
Severe anxiety and insomnia. | 0:14:56 | 0:14:58 | |
Five milligrams TDS, titrating to a maximum of ten, | 0:14:58 | 0:15:01 | |
review after two weeks. | 0:15:01 | 0:15:03 | |
So the mother fed the kids the anxiolytics | 0:15:03 | 0:15:06 | |
and then drove them to the sea. | 0:15:06 | 0:15:08 | |
Looks like it. | 0:15:08 | 0:15:10 | |
She's unresponsive, not saying anything. | 0:15:10 | 0:15:12 | |
Pupils are mid-sized and reactive. How's his blood glucose? | 0:15:24 | 0:15:27 | |
Normal. | 0:15:27 | 0:15:28 | |
He might need Flumazenil. | 0:15:28 | 0:15:30 | |
Let's put him into paediatric ICU to keep an eye on him. | 0:15:30 | 0:15:33 | |
Right now, she's conscious but not talking. | 0:15:54 | 0:15:56 | |
I don't think she's fit for psych evaluation yet. | 0:15:56 | 0:16:00 | |
We're moving the boy up to the kids ICU. | 0:16:00 | 0:16:02 | |
The girl is awake, she seems OK. | 0:16:02 | 0:16:05 | |
Have you seen the newsreel footage? | 0:16:06 | 0:16:08 | |
No. | 0:16:08 | 0:16:09 | |
It looks like a deliberate attempt to kill herself and her children. | 0:16:09 | 0:16:13 | |
A cry for help? | 0:16:14 | 0:16:15 | |
Maybe. | 0:16:17 | 0:16:18 | |
Can I say hello? | 0:16:19 | 0:16:21 | |
Sure. | 0:16:21 | 0:16:22 | |
Hello, Olivia. | 0:16:30 | 0:16:32 | |
Do you remember me? | 0:16:34 | 0:16:35 | |
How are you feeling? | 0:16:39 | 0:16:41 | |
The bullet fragments in Mr Spector's body contained no iron, | 0:17:03 | 0:17:05 | |
so he had the MRI scan this morning. | 0:17:05 | 0:17:07 | |
There's an absence of evidence for established infarct... | 0:17:10 | 0:17:13 | |
..but a suggestion here of a loss of grey white matter differentiation. | 0:17:14 | 0:17:22 | |
Now that may be in keeping with | 0:17:22 | 0:17:24 | |
ischaemic insult in the frontal temporal lobe region, | 0:17:24 | 0:17:27 | |
but I can't say it explains the memory loss. | 0:17:27 | 0:17:30 | |
I'll pass the results on to Dr Larson | 0:17:32 | 0:17:34 | |
and he can include them in his assessment. | 0:17:34 | 0:17:36 | |
Do we know what happened to his wife and children? How are they? | 0:17:36 | 0:17:38 | |
No serious injury, I think, | 0:17:38 | 0:17:41 | |
but I'm awaiting a call from the ED Consultant. | 0:17:41 | 0:17:43 | |
Has Mr Spector been informed? | 0:17:43 | 0:17:45 | |
Not yet. I'm going to wait for further information. | 0:17:45 | 0:17:48 | |
I think we have to make a holding statement of some sort. | 0:18:03 | 0:18:06 | |
Definitely. | 0:18:06 | 0:18:07 | |
Everyone will have seen it by now. | 0:18:08 | 0:18:10 | |
Let's...confirm that an incident happened, | 0:18:12 | 0:18:15 | |
identify the individuals involved. | 0:18:15 | 0:18:17 | |
Oh, there's nothing else, no speculation about motivation. | 0:18:20 | 0:18:23 | |
The press will do that for us. | 0:18:24 | 0:18:26 | |
Yeah. | 0:18:26 | 0:18:27 | |
Will you handle this, please, Matt? | 0:18:30 | 0:18:31 | |
I'll sit down with DCI Eastwood and work something out. | 0:18:33 | 0:18:36 | |
Sound a warning to the press. | 0:18:36 | 0:18:38 | |
And, Matt... | 0:18:40 | 0:18:41 | |
Show a human face. | 0:18:43 | 0:18:45 | |
'Paul, the police claim your' | 0:19:02 | 0:19:05 | |
fingerprints are on a pair of decorating shears. | 0:19:05 | 0:19:07 | |
They say the shears, the scissors, | 0:19:07 | 0:19:10 | |
tested positive for Joe Brawley's DNA, a blood sample. | 0:19:10 | 0:19:14 | |
They were retrieved from the water... | 0:19:14 | 0:19:16 | |
here. | 0:19:16 | 0:19:18 | |
I know where that is, I go running there sometimes. | 0:19:21 | 0:19:23 | |
Is it possible you came across the scissors while you were running, | 0:19:23 | 0:19:27 | |
considered them dangerous, | 0:19:27 | 0:19:28 | |
picked them up and threw them into the water, out of harm's way? | 0:19:28 | 0:19:32 | |
I don't remember any scissors. | 0:19:34 | 0:19:36 | |
The one real eye witness is his sister, Annie Brawley. | 0:19:38 | 0:19:41 | |
After the attack and before you were arrested | 0:19:41 | 0:19:44 | |
you went to see her in hospital. | 0:19:44 | 0:19:45 | |
I did? Why? | 0:19:45 | 0:19:47 | |
She was grieving the death of her brother. | 0:19:47 | 0:19:49 | |
You were employed by the Alice Monroe Fund | 0:19:49 | 0:19:52 | |
to offer her support, counselling. | 0:19:52 | 0:19:54 | |
What happened? | 0:19:55 | 0:19:56 | |
Nothing. You talked. | 0:19:56 | 0:19:58 | |
She said you were helpful. | 0:19:58 | 0:20:00 | |
Hold on. I'm, er, sorry, I'm very confused here. | 0:20:05 | 0:20:09 | |
This is someone the police say that I attacked? | 0:20:10 | 0:20:13 | |
Yes. | 0:20:13 | 0:20:14 | |
Well, why didn't she recognise me? | 0:20:14 | 0:20:16 | |
I don't know. | 0:20:16 | 0:20:17 | |
Why would I go and visit someone that I'd attacked? | 0:20:19 | 0:20:23 | |
What if she recognised me, what if she started screaming? | 0:20:23 | 0:20:26 | |
It doesn't make sense. | 0:20:29 | 0:20:31 | |
You do have alibis for all of the murders. | 0:20:59 | 0:21:02 | |
They have been provided by an individual called Katie Benedetto. | 0:21:02 | 0:21:07 | |
She claims she had a sexual relationship with you. | 0:21:07 | 0:21:10 | |
I don't know her. What age is she? | 0:21:13 | 0:21:15 | |
She's just turned 16. | 0:21:17 | 0:21:18 | |
She says she was 14 when you first slept together. | 0:21:18 | 0:21:21 | |
That's not possible. | 0:21:22 | 0:21:24 | |
A child? That's not possible. | 0:21:24 | 0:21:26 | |
There are doubts about her credibility as a witness. | 0:21:26 | 0:21:30 | |
The real issue, Mr Spector, is the confession. | 0:21:30 | 0:21:33 | |
I think you should hear a little of the recording that was made. | 0:21:34 | 0:21:38 | |
It might jog your memory. | 0:21:38 | 0:21:39 | |
STELLA ON TAPE: 'Tell me about the first time. | 0:21:45 | 0:21:47 | |
'What was it like? | 0:21:49 | 0:21:50 | |
'It made me sick. | 0:21:55 | 0:21:57 | |
'The smell disgusted me. | 0:21:59 | 0:22:01 | |
'The first was the worst and hardest to get over, | 0:22:03 | 0:22:07 | |
'but a switch had been flicked, a line crossed. | 0:22:07 | 0:22:10 | |
'Something was done that couldn't be undone. | 0:22:12 | 0:22:14 | |
'Something that separates you from the common herd. | 0:22:16 | 0:22:18 | |
'I was ill for four days after. | 0:22:20 | 0:22:22 | |
'You're in a state of existential shock... | 0:22:24 | 0:22:27 | |
'..but then you find yourself unchallenged by divine and | 0:22:29 | 0:22:32 | |
'secular power. | 0:22:32 | 0:22:34 | |
'OK. So why not do it again... | 0:22:34 | 0:22:37 | |
'..but better? | 0:22:39 | 0:22:40 | |
'Tell me, do you speak to them? | 0:22:42 | 0:22:44 | |
'To the women that you torture and kill? | 0:22:44 | 0:22:46 | |
'No. | 0:22:49 | 0:22:50 | |
'Do they die slowly? | 0:22:51 | 0:22:53 | |
'Yes. | 0:22:56 | 0:22:57 | |
'Loosening and tightening your grip around their throat? | 0:22:57 | 0:23:01 | |
'Keeping them suspended between life and death? | 0:23:02 | 0:23:04 | |
'Yes. | 0:23:06 | 0:23:08 | |
'Binding them first? | 0:23:09 | 0:23:10 | |
'Yes. | 0:23:11 | 0:23:12 | |
'How long do you torture them?' | 0:23:14 | 0:23:15 | |
Stop it. Please, stop it. | 0:23:15 | 0:23:17 | |
'Do you inflict sexual acts...' | 0:23:17 | 0:23:19 | |
That can't be me talking. How would I forget something like that? | 0:23:23 | 0:23:26 | |
That can't be me. | 0:23:26 | 0:23:28 | |
There are other recordings, Mr Spector. These are video recordings. | 0:23:29 | 0:23:34 | |
The prosecution suggest that... they were found on your phone. | 0:23:35 | 0:23:40 | |
-That you made them. -That's Rose. | 0:23:42 | 0:23:45 | |
Yes. | 0:23:45 | 0:23:46 | |
You want to be noticed. | 0:23:49 | 0:23:51 | |
You want to be paid attention to, make your mark? | 0:23:53 | 0:23:56 | |
Fine. Hurt me, do whatever you want to me. | 0:23:59 | 0:24:03 | |
Do your worst. | 0:24:04 | 0:24:06 | |
Nothing you can do will ever take away how much I love my husband, | 0:24:06 | 0:24:11 | |
how much I love my children. | 0:24:11 | 0:24:13 | |
Nothing you can do can make me devalue my life in any way. | 0:24:15 | 0:24:19 | |
I will celebrate life. | 0:24:19 | 0:24:21 | |
I love and I am loved and nothing that you... | 0:24:21 | 0:24:25 | |
'Why the fuck are you watching this? | 0:24:30 | 0:24:32 | |
'You sick shit. | 0:24:33 | 0:24:35 | |
'What the fuck is wrong with you?' | 0:24:36 | 0:24:38 | |
Nurse! | 0:24:47 | 0:24:48 | |
Nurse! | 0:24:50 | 0:24:52 | |
Paul, Paul, stop that. Can you step outside, please? | 0:24:53 | 0:24:56 | |
Paul, that's enough, Paul, focus on your breathing, | 0:24:56 | 0:24:59 | |
focus on your breath. | 0:24:59 | 0:25:00 | |
Come on, that's enough. Just in and out. | 0:25:00 | 0:25:03 | |
Slow breathing, you're OK, Paul. In and out, big, deep breath. | 0:25:03 | 0:25:07 | |
Yeah that's good, that's it, you're OK. | 0:25:08 | 0:25:11 | |
Jesus, what have we got ourselves into? | 0:25:27 | 0:25:30 | |
-You having doubts? -No. | 0:25:30 | 0:25:32 | |
-You sure? -Yes. | 0:25:32 | 0:25:33 | |
Because if you are, you can pack up | 0:25:33 | 0:25:34 | |
-your briefcase and sell houses instead. -I'm not. | 0:25:34 | 0:25:36 | |
Are you Sean Healy? | 0:25:38 | 0:25:39 | |
Yes. | 0:25:39 | 0:25:40 | |
Will you give this to Paul for me? | 0:25:40 | 0:25:42 | |
Katie? | 0:25:42 | 0:25:43 | |
Please, just give this to Paul. | 0:25:43 | 0:25:45 | |
Katie, you're in breach of your bail conditions. | 0:25:45 | 0:25:47 | |
You're in serious trouble. We can't take that letter from you. | 0:25:47 | 0:25:49 | |
Katie, stop! | 0:25:56 | 0:25:58 | |
Katie! | 0:26:00 | 0:26:01 | |
I can confirm that there has been a serious incident involving | 0:26:01 | 0:26:05 | |
the wife and the two children of the defendant, Paul Spector. | 0:26:05 | 0:26:08 | |
All three are currently being treated in the | 0:26:08 | 0:26:10 | |
Belfast General Hospital. | 0:26:10 | 0:26:12 | |
Their injuries are not life-threatening. | 0:26:12 | 0:26:13 | |
In light of the torrent of publicity since Paul Spector was arrested and | 0:26:13 | 0:26:17 | |
charged, the Police Service Northern Ireland feel bound to urge the media | 0:26:17 | 0:26:22 | |
to exercise restraint and caution in reporting the details of this case. | 0:26:22 | 0:26:26 | |
KNOCKING | 0:26:46 | 0:26:47 | |
Yep. | 0:26:48 | 0:26:49 | |
We've had a request to disclose your dream diary. | 0:26:49 | 0:26:52 | |
Sean Healy wants his own handwriting expert | 0:26:52 | 0:26:55 | |
to examine the entry Spector made. | 0:26:55 | 0:26:57 | |
He's in hospital, | 0:27:01 | 0:27:03 | |
he's incapacitated... | 0:27:03 | 0:27:05 | |
..and yet he's still infecting | 0:27:06 | 0:27:07 | |
the lives of every person he comes into contact with. | 0:27:07 | 0:27:10 | |
Everyone who fucking crosses his path. | 0:27:12 | 0:27:15 | |
He's a contagion. | 0:27:22 | 0:27:23 | |
Shall I just let them see that page? | 0:27:28 | 0:27:30 | |
They'll just come back asking for the rest. | 0:27:35 | 0:27:38 | |
No. | 0:27:42 | 0:27:43 | |
Clear it with the PPS. | 0:27:44 | 0:27:45 | |
And if they agree, send all of it. | 0:27:47 | 0:27:49 | |
'I can't believe that she would harm Livvy.' | 0:27:55 | 0:27:58 | |
I just don't think she could do that. | 0:27:58 | 0:28:00 | |
I can picture Sally, nursing her. | 0:28:04 | 0:28:07 | |
Just... Just so blissfully happy. | 0:28:09 | 0:28:12 | |
She'd never hurt her. | 0:28:15 | 0:28:16 | |
Where are you in that picture? | 0:28:18 | 0:28:19 | |
Where I always am. | 0:28:22 | 0:28:23 | |
On the outside, looking in. | 0:28:25 | 0:28:27 | |
When I was unconscious, I was... | 0:28:30 | 0:28:34 | |
I... I could see myself. | 0:28:36 | 0:28:37 | |
In this room. I was able to see myself from above, | 0:28:39 | 0:28:43 | |
lying in the bed, with all the tubes and monitors. | 0:28:43 | 0:28:47 | |
Have you ever experienced anything like that before? | 0:28:49 | 0:28:52 | |
Being outside of your body like that? | 0:28:53 | 0:28:55 | |
When I was young, yes. | 0:28:58 | 0:29:00 | |
When things got really bad, I used to be able to split myself. | 0:29:01 | 0:29:06 | |
If I was lucky, a part of me would just drift away. | 0:29:09 | 0:29:12 | |
To another place, a...better place. | 0:29:13 | 0:29:16 | |
Have you thought any more about what death means to you? | 0:29:20 | 0:29:23 | |
What I think can only disappoint you. | 0:29:26 | 0:29:28 | |
That doesn't matter. | 0:29:29 | 0:29:30 | |
I think that, just as I didn't exist before I was born... | 0:29:36 | 0:29:41 | |
..I simply won't exist after I die. | 0:29:43 | 0:29:45 | |
I can't agree. | 0:29:48 | 0:29:49 | |
Do you believe that you did the things they say you did? | 0:29:59 | 0:30:02 | |
Do you? | 0:30:05 | 0:30:06 | |
If I did, then I wasn't arrested... | 0:30:11 | 0:30:13 | |
..I was rescued. | 0:30:15 | 0:30:16 | |
I need you to go to London. | 0:30:22 | 0:30:23 | |
My boss at the Met, a man called Chris George, Chief Superintendent. | 0:30:25 | 0:30:29 | |
I just spoke to him. | 0:30:30 | 0:30:31 | |
He's agreed to sign the authorisations you will need | 0:30:31 | 0:30:34 | |
to access the Susan Harper files. | 0:30:34 | 0:30:36 | |
He's agreed to reopen the case? | 0:30:36 | 0:30:38 | |
He's agreed to let us look at the files. | 0:30:38 | 0:30:41 | |
There's a flight leaving Belfast City in just over an hour. | 0:30:41 | 0:30:44 | |
Will your arm be all right? | 0:30:49 | 0:30:50 | |
Yeah. | 0:30:53 | 0:30:54 | |
Take Ferrington. | 0:30:57 | 0:30:58 | |
These notes cover wound care and list the medications you're on. | 0:31:01 | 0:31:04 | |
You've had four days of broad intravenous antibiotics, | 0:31:04 | 0:31:07 | |
but I must remind you, because of the loss of your spleen, | 0:31:07 | 0:31:10 | |
you will be on lifelong prophylactic antibiotics. | 0:31:10 | 0:31:13 | |
Is there any chance I could see my son before I go? | 0:31:16 | 0:31:19 | |
Which one is he? | 0:31:35 | 0:31:36 | |
Just there. | 0:31:37 | 0:31:38 | |
Do you remember him? | 0:32:05 | 0:32:06 | |
Do you think he looks like me? | 0:32:14 | 0:32:16 | |
A little bit, maybe. | 0:32:19 | 0:32:20 | |
Paul. | 0:32:24 | 0:32:25 | |
I can walk. | 0:32:43 | 0:32:44 | |
Hospital policy. | 0:32:45 | 0:32:46 | |
Sit in the chair. | 0:32:48 | 0:32:50 | |
Thank you for everything. | 0:33:09 | 0:33:10 | |
Detective Superintendent Gibson. I'm here to see Dr Larson. | 0:34:21 | 0:34:25 | |
He's been expecting you. Please sign in. | 0:34:25 | 0:34:27 | |
Thank you. | 0:34:32 | 0:34:33 | |
Have I seen you somewhere before? | 0:34:38 | 0:34:40 | |
You tell me. | 0:34:45 | 0:34:46 | |
This is Foyle One, where Mr Spector will be housed. | 0:34:54 | 0:34:57 | |
Doors are kept locked, all areas are monitored by CCTV. | 0:34:57 | 0:35:01 | |
Staff have lockers here for personal belongings. | 0:35:03 | 0:35:07 | |
You can leave your mobile phone, any keys here. | 0:35:07 | 0:35:09 | |
What level of supervision have you set for Spector? | 0:35:13 | 0:35:16 | |
We have agreed to level two care for Mr Spector - | 0:35:16 | 0:35:19 | |
continual presence of nursing staff, but privacy granted for bathing. | 0:35:19 | 0:35:24 | |
All patients in Foyle One are allocated a primary nurse. | 0:35:24 | 0:35:28 | |
Male? | 0:35:28 | 0:35:29 | |
Male. | 0:35:29 | 0:35:30 | |
How many beds are on this ward? | 0:35:30 | 0:35:32 | |
12 in all. | 0:35:32 | 0:35:33 | |
All the patients we have on the ward at present have | 0:35:34 | 0:35:37 | |
access to their rooms at all times, except when they're being cleaned. | 0:35:37 | 0:35:42 | |
Some patients have keys to lock their bedroom doors, | 0:35:42 | 0:35:45 | |
but staff carry override keys. | 0:35:45 | 0:35:46 | |
This way, please. | 0:35:48 | 0:35:49 | |
Most of the patients are on pharmacological therapy. | 0:35:54 | 0:35:58 | |
We'll assess the need for a drug strategy for Mr Spector. | 0:35:59 | 0:36:03 | |
Care and treatment is provided by a multidisciplinary team, | 0:36:03 | 0:36:06 | |
but I will do the legal assessments. | 0:36:06 | 0:36:09 | |
Yeah, Mr Spector is here now. | 0:36:11 | 0:36:13 | |
-There's coffee here, please help yourself. -Thank you. | 0:36:13 | 0:36:16 | |
I'm going to greet him. | 0:36:16 | 0:36:18 | |
Mr Spector, I'm August Larson, the lead clinician here. | 0:37:09 | 0:37:15 | |
Follow me, please. | 0:37:15 | 0:37:16 | |
Nurse Ritchie will orientate you. | 0:37:45 | 0:37:47 | |
I will be along to talk to you in a little while. | 0:37:49 | 0:37:52 | |
Follow me, Paul. | 0:37:53 | 0:37:54 | |
There's some toiletries for you there. | 0:38:09 | 0:38:11 | |
And that's your information on ward routines, policies and procedures. | 0:38:11 | 0:38:15 | |
Are you hungry? | 0:38:21 | 0:38:22 | |
I haven't been eating much. | 0:38:23 | 0:38:25 | |
I'd like some water. | 0:38:25 | 0:38:27 | |
I'll get you some. | 0:38:27 | 0:38:28 | |
Do you have time to talk? | 0:38:46 | 0:38:48 | |
Yes. | 0:38:48 | 0:38:49 | |
Have a seat, please. | 0:38:49 | 0:38:50 | |
Actually I... | 0:38:52 | 0:38:53 | |
-I have some things I want to show you. -Hmm? | 0:38:55 | 0:38:57 | |
And you're certain these are his work? | 0:39:25 | 0:39:27 | |
Yes. | 0:39:29 | 0:39:30 | |
Is this his poem? | 0:39:39 | 0:39:40 | |
I think so. | 0:39:41 | 0:39:42 | |
"Dark voices tonight... | 0:39:44 | 0:39:46 | |
"..foreign ladies talking to dangerous men. | 0:39:47 | 0:39:50 | |
"Their eyes are lunar divisions. | 0:39:51 | 0:39:53 | |
"They lie on dead sheets. | 0:39:54 | 0:39:56 | |
"A drunken midnight approach. | 0:39:57 | 0:39:59 | |
"Her smile is a crooked lamplight. | 0:40:01 | 0:40:04 | |
"Red lips parting... | 0:40:05 | 0:40:06 | |
"..soft vowels begging... | 0:40:08 | 0:40:11 | |
"feeding the night." | 0:40:11 | 0:40:13 | |
Some clean clothes for you. | 0:40:19 | 0:40:21 | |
Is this his, too? | 0:40:36 | 0:40:37 | |
"I don't believe in love. | 0:40:39 | 0:40:40 | |
"At least, I believe in love, but not in happiness. | 0:40:42 | 0:40:46 | |
"The only love that lasts is unhappy love." | 0:40:47 | 0:40:51 | |
Again, I think it must be him. | 0:40:52 | 0:40:54 | |
I haven't found either on an internet search. | 0:40:56 | 0:40:58 | |
There are some things in there that are new to me. | 0:41:00 | 0:41:03 | |
He writes at one point about the battle, | 0:41:04 | 0:41:08 | |
as he perceives it, between "good Paul" and "bad Paul". | 0:41:08 | 0:41:11 | |
He describes standing back, being a spectator of his own actions, | 0:41:13 | 0:41:19 | |
that there's an observing self and a participating self. | 0:41:19 | 0:41:22 | |
There is a dazzling array of perversions. | 0:41:32 | 0:41:36 | |
I mean, beyond the sadism and the overwhelming fetishism | 0:41:36 | 0:41:41 | |
with female underwear. | 0:41:41 | 0:41:43 | |
He was a voyeur, | 0:41:43 | 0:41:45 | |
a transvestite... | 0:41:45 | 0:41:47 | |
into autoeroticism and necrophilia. | 0:41:47 | 0:41:51 | |
There's also signs of pygmalionism - | 0:41:51 | 0:41:53 | |
his obsession with mannequins and dolls. | 0:41:53 | 0:41:56 | |
I've sometimes wondered if he | 0:41:57 | 0:42:00 | |
breathed air into his dying victims | 0:42:00 | 0:42:03 | |
to prolong their lives... | 0:42:03 | 0:42:05 | |
..so that they could see clearly that he was going to kill them. | 0:42:06 | 0:42:09 | |
When young children are abused, they experience fear and anxiety. | 0:42:19 | 0:42:25 | |
They then attempt to contain those feelings by acting out sadistically. | 0:42:25 | 0:42:31 | |
If a person is able to do to others | 0:42:32 | 0:42:34 | |
what he fears may be done to him, he may no longer be afraid. | 0:42:34 | 0:42:38 | |
You assume he was abused? | 0:42:41 | 0:42:43 | |
He was in Gortnacull, I think? | 0:42:44 | 0:42:46 | |
Doctor, I understand that for you he's a patient, an abused child, | 0:42:48 | 0:42:54 | |
someone who deserves understanding and compassion, even. | 0:42:54 | 0:42:59 | |
But to me, he's a... He's a sexual predator, | 0:43:01 | 0:43:06 | |
and it's my job to protect the potential victims | 0:43:06 | 0:43:09 | |
from the threat that he poses. | 0:43:09 | 0:43:11 | |
Viewed from a psychodynamic perspective, | 0:43:18 | 0:43:22 | |
even the most apparently insane violence | 0:43:22 | 0:43:25 | |
has meaning in the mind of the person who commits it. | 0:43:25 | 0:43:28 | |
I have to try to understand that meaning and learn from it | 0:43:29 | 0:43:33 | |
in the attempt to prevent further violence. | 0:43:33 | 0:43:37 | |
Yeah. | 0:43:38 | 0:43:39 | |
Just don't underestimate the threat... | 0:43:41 | 0:43:44 | |
..the danger that Paul Spector represents. | 0:43:45 | 0:43:48 | |
I won't. | 0:43:48 | 0:43:50 | |
Do you have an idea about Mr Spector's pre-morbid IQ? | 0:44:01 | 0:44:04 | |
He was tested as a child | 0:44:05 | 0:44:08 | |
and scored in the very superior intelligence band. | 0:44:08 | 0:44:11 | |
Thank you. | 0:44:13 | 0:44:14 | |
It's been a pleasure talking to you. | 0:44:14 | 0:44:16 | |
Psychiatry needs feedback from patients. | 0:44:29 | 0:44:32 | |
It's realised in interpersonal contacts, so trust is essential. | 0:44:32 | 0:44:37 | |
It is not my place to judge him | 0:44:38 | 0:44:40 | |
for what he may or may not have done, | 0:44:40 | 0:44:42 | |
but I will try to get to the truth of the matter | 0:44:42 | 0:44:45 | |
for the courts and for you. | 0:44:45 | 0:44:47 | |
He is going to prison. | 0:44:49 | 0:44:50 | |
Let me show you out. | 0:44:52 | 0:44:54 | |
BELL RINGS | 0:44:57 | 0:44:59 | |
MAN: All right, boys. Out you come. | 0:44:59 | 0:45:02 | |
INDISTINCT CHATTER | 0:45:02 | 0:45:05 | |
You should try to eat some fruit at least. | 0:45:08 | 0:45:11 | |
CHATTERING AND LAUGHING | 0:45:59 | 0:46:02 | |
-Rose Stagg is waiting for you, Ma'am. -Oh, right. | 0:46:21 | 0:46:24 | |
She's in the interview room. | 0:46:24 | 0:46:25 | |
What's... What's happening with the Benedetto girl? | 0:46:25 | 0:46:27 | |
She's in custody, due in court again tomorrow. | 0:46:27 | 0:46:30 | |
Will you sit in with us, Gail? | 0:46:30 | 0:46:33 | |
Yes, Ma'am. | 0:46:33 | 0:46:34 | |
'What's the next thing that you remember?' | 0:46:37 | 0:46:40 | |
Darkness. And movement - being thrown around. | 0:46:41 | 0:46:47 | |
I think he must have drugged me when he gave me water. | 0:46:50 | 0:46:53 | |
It took me a while to work out what was happening... | 0:46:56 | 0:47:00 | |
that I was in the car, in the boot of a car. | 0:47:00 | 0:47:03 | |
It was terrifying. | 0:47:05 | 0:47:07 | |
I was thrown around horribly, particularly towards the end. | 0:47:07 | 0:47:11 | |
I felt like a rag doll. Every bump made me cry out. | 0:47:11 | 0:47:16 | |
Then the car stopped, the engine was turned off. | 0:47:18 | 0:47:22 | |
The driver's door opened... | 0:47:25 | 0:47:27 | |
..and then silence. | 0:47:30 | 0:47:32 | |
I waited and waited... but nothing happened. | 0:47:34 | 0:47:38 | |
I realised I'd been left there alone. | 0:47:42 | 0:47:44 | |
There were some old water bottles in the boot so at first I could drink. | 0:47:47 | 0:47:52 | |
But then there was none left. | 0:47:54 | 0:47:56 | |
I tried to pull the brake lights out | 0:47:58 | 0:48:00 | |
to let in more air, but I couldn't shift them. | 0:48:00 | 0:48:04 | |
I felt so weak. | 0:48:06 | 0:48:08 | |
There was no air. | 0:48:09 | 0:48:10 | |
I became obsessed with the sound of my own breathing. | 0:48:14 | 0:48:18 | |
I'd fall asleep, but I'd have no idea for how long. | 0:48:19 | 0:48:23 | |
At first I thought I could tell whether it was day or night | 0:48:26 | 0:48:29 | |
from the smell of the air, | 0:48:29 | 0:48:33 | |
but then the air got staler and staler. | 0:48:33 | 0:48:37 | |
I lost all track of time. | 0:48:39 | 0:48:42 | |
I tried to think about the kids, but I couldn't focus. | 0:48:47 | 0:48:52 | |
I felt my brain was shutting down. | 0:48:55 | 0:48:58 | |
The last thing I remember was thinking that I should burrow, | 0:49:01 | 0:49:08 | |
that I should dig down into the earth to hide, | 0:49:08 | 0:49:13 | |
to feel safe and warm. | 0:49:13 | 0:49:15 | |
Like an animal, digging... | 0:49:17 | 0:49:19 | |
I don't remember anything after that. | 0:49:26 | 0:49:28 | |
Thank you. | 0:49:31 | 0:49:32 | |
Can I talk to you... | 0:49:39 | 0:49:43 | |
alone? | 0:49:43 | 0:49:45 | |
Without the tape? | 0:49:45 | 0:49:46 | |
This is DC Gail McNally suspending the interview at 10.43pm. | 0:49:50 | 0:49:56 | |
I haven't been... | 0:50:13 | 0:50:15 | |
I haven't been completely honest with you. | 0:50:17 | 0:50:20 | |
I led you to believe that after that one time he strangled me, | 0:50:21 | 0:50:26 | |
that it ended. | 0:50:26 | 0:50:27 | |
But it didn't. | 0:50:30 | 0:50:32 | |
I suspected as much. | 0:50:34 | 0:50:36 | |
It wasn't that simple. | 0:50:41 | 0:50:43 | |
We went to some dark places. | 0:50:46 | 0:50:48 | |
The first time it happened, I was giving him... | 0:50:50 | 0:50:54 | |
I was...using my mouth on him. | 0:50:55 | 0:50:57 | |
He squeezed his legs around my neck. | 0:51:00 | 0:51:03 | |
I couldn't breathe. I was... | 0:51:03 | 0:51:06 | |
Take your time. | 0:51:09 | 0:51:10 | |
Er... | 0:51:13 | 0:51:14 | |
He squeezed really tight. | 0:51:21 | 0:51:24 | |
I thought I was going to pass out but he released me. | 0:51:24 | 0:51:28 | |
He treated it a bit like a game, at first. | 0:51:33 | 0:51:36 | |
I'd already begun to think he didn't have much enthusiasm | 0:51:38 | 0:51:41 | |
for ordinary intercourse... | 0:51:41 | 0:51:43 | |
..but then things got more serious. | 0:51:45 | 0:51:48 | |
He asked me to play dead. | 0:51:52 | 0:51:54 | |
And then there was the time that I told you about. | 0:51:57 | 0:52:00 | |
I think he revived me, mouth to mouth. | 0:52:01 | 0:52:04 | |
There were times when he wanted to use a plastic bag on me, | 0:52:08 | 0:52:14 | |
on himself. | 0:52:14 | 0:52:16 | |
He said that we all try to live in the light, | 0:52:20 | 0:52:25 | |
that we all try to build walls around us to block out the darkness, | 0:52:25 | 0:52:29 | |
the danger that's out there, but it can't be done, it's a lie, | 0:52:29 | 0:52:35 | |
that in reality there are dark gods out there and that men | 0:52:35 | 0:52:40 | |
could become gods on earth through a certain kind of sex. | 0:52:40 | 0:52:44 | |
And women? | 0:52:46 | 0:52:47 | |
I think so. I'm sorry. I can't really explain it. | 0:52:49 | 0:52:54 | |
Why did you walk away? | 0:52:59 | 0:53:01 | |
It felt to me that everything that was happening | 0:53:04 | 0:53:09 | |
was about pleasing him. | 0:53:09 | 0:53:11 | |
That it wasn't about me at all. | 0:53:14 | 0:53:16 | |
I left him and I went back to Tom. | 0:53:19 | 0:53:22 | |
And what about Spector? | 0:53:22 | 0:53:24 | |
He went to London, I think. | 0:53:26 | 0:53:28 | |
Did you and Spector ever do drugs? | 0:53:30 | 0:53:33 | |
I think I told you that we drank a lot. | 0:53:33 | 0:53:36 | |
Hm. Cocaine? | 0:53:36 | 0:53:37 | |
No, not with me, but maybe he did back then. | 0:53:37 | 0:53:41 | |
My life with Tom couldn't be more different. | 0:53:49 | 0:53:52 | |
Things have been difficult since the birth of Cody. | 0:53:53 | 0:53:57 | |
Actually, since my first Caesarean. | 0:53:59 | 0:54:01 | |
And how are they now? | 0:54:03 | 0:54:05 | |
It's strange. | 0:54:07 | 0:54:08 | |
When he talks to me now, I don't really listen to the words | 0:54:10 | 0:54:16 | |
that he's saying, just to the tone of his voice. | 0:54:16 | 0:54:19 | |
From that I can work out whether he likes me or not, | 0:54:21 | 0:54:25 | |
whether he's emotionally close to me. | 0:54:25 | 0:54:28 | |
Right now, he's angry... | 0:54:34 | 0:54:36 | |
..and I don't think he likes me very much. | 0:54:39 | 0:54:41 | |
Rose, there's something I need to tell you. | 0:54:44 | 0:54:49 | |
I think that...I'm the reason that Paul Spector came after you. | 0:54:57 | 0:55:02 | |
How? | 0:55:05 | 0:55:07 | |
I think I... | 0:55:09 | 0:55:11 | |
I think I revealed your identity as my informant | 0:55:13 | 0:55:16 | |
when I used his name - Peter. | 0:55:16 | 0:55:18 | |
The name that you gave me when I spoke to him on the phone. | 0:55:19 | 0:55:23 | |
Using that name, together with the E-Fit that we had created, | 0:55:27 | 0:55:34 | |
I think led him straight to you. | 0:55:34 | 0:55:36 | |
I was trying to convey that... | 0:55:38 | 0:55:42 | |
..well, that we were on to him. | 0:55:43 | 0:55:45 | |
I was trying to scare him to stop the attacks. | 0:55:47 | 0:55:50 | |
And it worked to the extent that he ran, | 0:55:53 | 0:55:56 | |
but...but when we didn't do anything, | 0:55:56 | 0:56:00 | |
when we didn't pounce... | 0:56:00 | 0:56:04 | |
he came after you. | 0:56:04 | 0:56:06 | |
I hadn't realised your relationship was so meaningful to him. | 0:56:12 | 0:56:17 | |
He said I was the only one. | 0:56:24 | 0:56:26 | |
That I was the only girl. | 0:56:30 | 0:56:32 | |
I believe it. | 0:56:36 | 0:56:38 | |
I'm glad I'm not the only one to have made mistakes. | 0:56:56 | 0:57:01 | |
Thank you. | 0:57:05 | 0:57:08 | |
-IN THE DISTANCE: -Go fuck that! Jesus fucking Christ! | 0:57:19 | 0:57:24 | |
I'm Mark Bailey. | 0:57:36 | 0:57:38 | |
Who are you? | 0:57:40 | 0:57:41 | |
I'm told I'm the Belfast Strangler. | 0:57:48 | 0:57:50 | |
Are you? | 0:57:53 | 0:57:55 | |
Maybe. | 0:57:58 | 0:57:59 | |
Right now, I don't remember. | 0:58:00 | 0:58:02 | |
Wasn't well. Better now. | 0:58:08 | 0:58:10 | |
Wasn't well. Better now. | 0:58:12 | 0:58:14 | |
Wasn't well. Better now. | 0:58:15 | 0:58:17 |