- You went to the police, Rose (Rose gasps) It made my life very difficult.

- Peter?

(sobbing) No!

- Her first appointment at work was at eight this morning.

She didn't turn up, no word from her either.

This has never happened before.

- Can I help you?

- I'm here to see a patient.

Annie, I'm Paul Spector.

- [Both] Where's the peck of pickled peppers Peter Piper picked?

- Did you learn that at school?

- No, from Peter Piper.

Mummy's friend.

- I warned you once before.

This is your last warning.

- Good!

- [Woman] They've managed to lift a partial print from the scissors.

We've run it through the system and found a match.

Paul Spector.

- What have you done with Rose Stagg?

- Stella, I don't know what's going to happen to me, to you, to anyone else in this world.

All I know is no one can outwit death.

(tense music) (birds chirping) (tense music) (birds chirping) (keys jangling) Hey, cutie.

Hey, cutie.

Hello.

(baby fussing) (bag zips) (knocking at door) - Morning, sir.

- Morning.

Did you get any sleep?

- A little.

What's he doing here?

- Eastwood's your new Deputy SIO.

- Excuse me?

- Garrett Brink is tied up with a court case.

McIlroy has further blood tests to undergo.

And you need someone.

And urgently.

- So is he keeping an eye on me or am I keeping an eye on him?

- Make it work.

(door thuds shut) (telephone ringing) - Don't worry, we'll beautify it for you.

(Eastwood chuckles) Good to have you onboard.

- Likewise.

(dramatic music) (Paul whistling tunelessly) (baby crying) - Shh, shh, shh, shh.

Hey, hey, hey.

(tense music) - Good morning, everybody.

- [All] Morning, ma'am.

- I am pleased to say we are about to take a very significant step in our investigation.

This is a formal declaration that from now on, the inquiry will be focusing on a particular individual.

Our prime suspect: Paul Spector.

Paul Spector was caught on CCTV at the Botanic Gardens on Saturday, the 14th of April.

The day that Sarah Kay was there with her sister.

He came into the police station on Saturday the 21st and was interviewed by DCI Brink.

He gave his DNA and his fingerprints and was, at that point, eliminated.

We now have tangible evidence to link Paul Spector to the murder of Joe Brawley.

Namely, his fingerprints on a pair of decorating shears identical to a pair purchased by Annie Brawley.

- [Jim] Do we need to put an arrest strategy in place?

- Not yet.

There's very good reason for believing that Paul Spector is also responsible for the abduction and unlawful imprisonment of Rose Stagg.

Last night, I received a phone call on my old private number from Rose Stagg's mobile phone.

- The call he made on Rose's phone last night has been triangulated.

We have a location.

A search is underway.

- We have a live cell trace on Spector's registered mobile phone and we have his historic phone records.

Right now that phone is off, but we know he has access to other phones.

He made calls in Scotland, so we know he did go away.

Yesterday, he made and received a call in the vicinity of the city hospital in Belfast, so we know he's back.

- Does he have a car?

- He reported his car as stolen the day after the Brawley murder.

It was a Peugeot 405, registration Sierra-India-Whiskey-3-1-6-0.

- Has he made an insurance claim?

- [Officer] No.

- We need to find that car.

(door creaks) (tense music) (door thuds shut) (tense music) DCI Matt Eastwood is my new Deputy SIO.

Thus far he's been covering the Rose Stagg disappearance.

- We have some CCTV footage that you may not have seen of Rose shopping.

This is her last known appearance in public.

All the evidence thus far suggests that Rose was abducted from her home by an individual who, in conversation with Rose's daughter, Nancy, aged six, called himself Peter.

- Now, on that point, we have the suspect's birth certificate.

Peter Paul Spector.

Mother, Mary, father, John Paul Spector.

Note the occupation: Private British Army.

He began an 18-month tour of duty here in March 1978 with the Duke of Cumbria's regiment, third battalion.

Now, Spector was born, as you can see, on the 25th of May 1979.

- The year the Shankill Butchers were sentenced to life imprisonment for 19 murders.

The year of Warrenpoint.

Bad year.

- Spector's a married man.

Married in 2004.

Sally-Ann Goodall.

He has two children: Olivia, eight, and Liam, five.

Sally-Ann's a senior staff nurse in the Belfast neo-natal intensive care unit.

She leads a team that has responsibility for 30 beds.

- We have Sally-Ann under surveillance in the hope that she'll lead us to her husband.

Our priority is to find him.

Find him, put him under surveillance, in the hope that he will lead us to Rose.

(tense music) We know next to nothing about Paul Spector's childhood.

All we have is a list of children's homes that he himself provided.

All of those need to be checked out.

A man doesn't wake up one morning and find that he has become a sexual psychopath.

Nor does he wake up one day and discover that the condition is gone.

It develops over a very long period of time.

(keyboard clacking) We need to find out everything that we possibly can about Paul Spector.

Every detail of his life needs to be established, checked, and double-checked.

I also believe that Paul Spector is responsible for the deaths of Fiona Gallagher, Alice Monroe, and Sarah Kay.

I'd say all of his previous victims were dead within an hour of being attacked.

- So she's lost to us already?

- The one glimmer of hope is that he knows Rose.

Not from watching and stalking, objectifying her.

He really knows her.

And she's a mother.

- [Woman] (on recording) I feel sorry for you.

I really do.

You must have had a terrible childhood to be able to do this to me.

(keyboard clacks) I feel sorry for you.

I really do.

(keyboard clacks) I feel sorry for you.

(keyboard clacks) - Pay a follow-up call to Sally-Ann Spector.

Make it seem routine.

Ask her to account for the night that she was at work and Spector told us that he was at home alone with the kids.

- The night of the Joe Brawley murder?

- Just that night, though.

Don't spook her too much.

- So just a little?

- Take McNally.

- Thank you, ma'am.

She wants me for herself, really.

She's just being generous.

(papers rustling) - Do you carry that stuff about bombs and shootings around in your head?

- Etched on my soul.

- X-Ray One to Control, that's a CID car pulling up at the target's address.

- [Control] Control from X-Ray One.

CID car pulling up at target's address.

- [X-Ray] That's two CID officers at the target's door.

Female at the door, possibly the target's wife.

(camera snapping) Two CID officers entering the house.

Door's closed.

- I don't know if you remember me, Mrs. Spector.

I spoke to you on the phone a while ago.

- Yes, I do remember.

- I'm sorry to intrude like this, but there are a few questions I should have asked you about the night of the 20th.

- What questions?

- Oh, they're just routine.

I should've asked you at the time.

You were working, you said?

- Er, I wasn't meant to be working that night.

I'd been on all day.

But we'd withdrawn care from one of the babies in the unit, so I stayed with the mother to see it through.

- And Paul was at home with the children?

He told my colleague that he was at home all evening and all night with the children.

(notepad rustling) Bathed them, put them to bed, read them a story.

He said that after that, he was in his study listening to music.

- I'm not sure, I... - It's okay, Mrs. Spector.

We just want to be able to eliminate your husband from our inquiries and move on.

- Just tell us what you know.

- A friend of mine... (clears throat) A friend of mine picked up the children from school.

She was looking after them until nine, she couldn't stay any longer.

So when I couldn't get hold of Paul, I called our usual babysitter.

She came and stayed the night.

She was gone when I got back the following morning.

Paul was here.

- Can I get those names from you, Sally?

The friend.

The babysitter.

(tense music) (water running) (tense music) Talk to you, ma'am?

- Yeah.

- According to Mrs. Spector, a babysitter, Katerina Benedetto, known as Katie, was at the Spectors' house on the night of the Joe Brawley murder, not Spector himself.

- How old?

- 15 at the time.

Just turned 16.

School student.

Should we talk to her?

- Well, she'll need one of her parents present.

- Father's dead, motorcycle accident three years ago.

He was an art dealer.

Mother works for an auction house.

Fine art.

Paintings and stuff.

- I know what fine art is.

Pay her a visit.

(doorbell chimes) - Mrs. Benedetto?

- Yes.

- DC Martin, DC McNally.

We'd like to talk to your daughter, Katerina.

Is she home?

- [Mrs. Benedetto] Yes, she is.

Come on through.

- Thank you.

- Thanks.

(door thuds shut) (glass clinks) - Katie?

Katie.

(pop music on headphones) These police officers want to talk to you.

- When did you first start babysitting for the Spectors, Katie?

- When I was 14.

- And you were babysitting on the night of the 20th?

And you stayed all night?

- [Katie] No.

- No?

- I left at about three in the morning.

- Really?

- You were asleep and didn't hear me come in.

- [McNally] Did you leave because Mr. Spector came home?

- No.

I left because we suddenly realized the time and he wanted to go to bed.

- We?

- Paul came home at about 9:30.

- 9:30?

- [Katie] Yes.

- I see.

Then why did you stay?

- We got talking.

Listening to music in his study.

- So you were alone with Mr. Spector from 9:30 till 3 a.m.?

- Well, the children were there.

- [McNally] Have you stayed that late at the Spectors' before?

- No.

- Where did Sally-Ann suggest you should sleep that night?

- She said to use their bed.

- [Martin] Did you use their bed?

- I told you, Paul came home.

- Where had he been?

- Doing something related to work, I think.

Helping one of his clients.

- There was nothing unusual about his appearance?

His demeanor?

- No.

Nothing.

- So just to be clear, you were with Paul Spector from 9:30 that night till after three the following morning?

- Yes.

- How'd you get home?

- Paul wanted to call a cab, but I walked.

It's not far.

- No.

It's not.

- We have Tom Stagg's house under surveillance.

He was visited there last night by Professor Reed Smith.

- Really?

How long did she stay?

- Two hours.

There were some prolonged silences.

They seemed quite comfortable with each other.

- I see.

(siren wailing in distance) (mobile ringing) - Yes?

- [Katie] Where are you?

- Shopping for clothes, thank you very much.

- [Katie] Police have just been here.

- Really?

- Asking about the night that I was babysitting for you.

- What?

- If you want to know what I said, you'd better meet me.

- [Mrs. Benedetto] Katie!

Katie, I need to talk to you.

- I'm on the phone!

- Are you (muted) with me?

- DC Glen Martin and DC something-or-other McNally.

- Meet me at nine.

Cathedral Quarter.

- Whereabouts?

- I'll text you.

- [Martin] We've just seen the babysitter, ma'am.

- [Stella] How did it go?

- She says Spector was at home on the 20th.

His home.

With her from 9:30 in the evening.

- What?

- Says she left at 3 a.m. - So now he has an alibi.

- She gave us the time and the route of her journey home.

We can see if we can find anyone to confirm her story.

- Why would she say that?

- One thing she did reveal, the night before Sarah Kay was killed, she was babysitting while the Spectors were drinking with friends in the bar of the Malmaison.

- Right.

- As was Annie Brawley.

(tense music) (tape ripping) (tense music) - We are here today to appeal for the public's help in locating a missing woman, Rose Veronica Stagg.

Rose hasn't been seen, nor has she contacted her family, since the night of the third of May and we are concerned for her welfare.

Rose is 32 years old with dark, shoulder-length hair which can appear black when wet.

She can be seen here in a family video that was shot just three weeks ago.

(Rose laughing on video) - If he's guarded-- - Ma'am.

- I think mine's definitely better than yours, though.

I've got two.

I've got one, two, three, four.

(Rose laughs on video) I'm making this one for you, Tom.

I think it's going to suit you beautifully.

(laughs) Nancy, you going to make one for Brody?

- [Nancy] Okay.

- What do you think of my work?

- [Eastwood] Rose's car has also gone missing.

Details of the vehicle will appear on the screen shortly.

This is Rose's husband, Tom, here beside me.

Tom would like to say a few words.

- Thank you so much for watching today.

I'm appealing to anyone who might have any information about the disappearance of my wife, Rose, to contact the police any time, day or night.

Rose is a therapeutic radiologist by profession.

Many of her patients are suffering from advanced forms of cancer.

It would be completely out of character for Rose to leave those patients in the lurch.

I know she would call me if she could.

Which makes me think she might be being held somewhere against her will.

I know she's alive.

She can't... (cameras snapping) (car rumbling) (car door slams) - Ma'am.

(plastic rustles) (sirens wailing in distance) - We have tire tracks, ma'am.

They match the track width and the wheelbase of Rose Stagg's car.

(camera snaps) - Any sign of the phone?

- Not yet.

We're losing light.

(tense music) - X-Ray One to Control, stand by.

Target's wife out of the house with two children, approaching green Volvo Estate.

Uniform-Echo-Zulu-8-2-4-3.

Vehicle facing country-wards.

- [Control] All call signs stand by.

Target's wife and two children in green Volvo.

Alpha, do you have target vehicle?

- [Alpha] Alpha, I have.

- [Control] Control, Alpha has.

- Anything?

- There's no sign of the car, ma'am.

There is no such number.

Did you get a make or a model?

- Check on the PNC for recently stolen vehicles.

(mobile ringing) Gibson.

- [Woman] Hi, it's Reed Smith.

- Hi.

- [Reed] Can I see you?

- When?

- [Reed] Erm, tonight?

- Is 10 too late?

- [Reed] No, that's fine.

Where?

- Bert's Bar.

- [Reed] Perfect.

I'll see you there.

- Ma'am.

Stolen this morning.

- Right.

That's it.

Where was it stolen from?

- [Officer] Over here, sir.

- [Officer] From here, ma'am.

- Ma'am, we've found something.

It's not the phone.

It's a phone case.

(jazz music) (diners chattering) - I'm joining someone.

She's here.

Don't have much time.

Tell me what happened.

(door thuds shut) (light clicks on) (keyboard clacking) - The thing is, I really did walk home alone at three.

I gave them the exact route.

There were people who saw me, there's CCTV along the way.

So if they check up, they'll see it's true.

Are you pleased with me?

- Not particularly.

- Why are you being like this?

- Like what?

- I'm protecting you.

- I don't need your protection.

- Yes, you do.

And now you have to tell me.

- Tell you?

- The truth about you.

The truth, the whole truth, and nothing but the truth.

- Being a serial murder is a form of slow suicide, deeply self-destructive.

I'm sorry to disappoint you, Katie, but that's not my style.

- Then what are you?

Who are you?

- I'm lots of things.

- So am I.

- You?

You're a stereotype.

The rebellious teenager.

- I'm much more than that.

- D'you ever find yourself a day behind?

- What do you mean?

- Or look at the clock and see that hours have gone by and you've no idea what you were doing?

- I don't know.

- Are you always just little Katie?

- No.

- When aren't you little Katie?

- When I'm with you.

I've pretended to be other people online.

- Who?

- Different names.

Older.

A guy.

- Then maybe you will understand.

- Try me.

- I hadn't taken much notice of the case.

The various murders.

But then one evening, we were driving home from a meeting with one of Olivia's teachers when we were diverted away from a crime scene.

I went home, looked up the news to see what happened.

There'd been a murder.

Sarah Kay.

You know I go running?

- Yes.

- Well, sometimes I run through the city.

But sometimes I run through Botanic Gardens and head south.

And when I take that route, I run through the graveyard.

A couple of days after the murder, the police had reopened the street.

I went that way.

And running along the path, through the gravestones, something caught my eye.

It was a driver's license.

So I stopped, picked it up, and it was Sarah Kay's.

I looked at the address and saw that she lived opposite the cemetery.

So then I began to wonder.

Had she dropped it or had the killer discarded it?

Had the killer passed that way?

- Oh, my god.

- So there I am, holding this driving license and I'm thinking, "I should go to the police."

Then I found I didn't want to.

- Why?

- Did you see the first press conference?

- [Katie] No.

- The one for Sarah Kay?

- No.

- Well, there's this woman, an English woman, and it seemed that she was the one that linked the murders and that she was in charge.

(paper rustling) That's her.

What I noticed at the conference, her blouse, a silk blouse, was open here.

Gaping open.

And she seemed so cool, so relaxed, so self-assured.

Superior.

While the Irishman sat next to her looked like a potato.

A farmer.

Like a dope.

So I kept it.

Didn't hand it in.

- Which is maybe just as well, given that you were in the park at the same time as her and her sister.

- And the more I thought about that woman, Stella Gibson, the more I wanted to (muted) with her and her investigation.

So I wrote a letter, pretending to be the killer.

And to prove that I was the killer, I enclosed the driver's license.

- You did that?

- And they bought it, hook, line, and sinker.

(teacup clinks) - Are you still messing with her?

- I have one more thing I want to do.

- Tell me.

- No.

- Let me do it with you.

Please.

- You're not ready.

- I am.

I'm ready for anything.

You think I'm a little girl, but I'm not.

Ask me to do anything and I will.

- Create a fake email account.

Use it to create a video chat account.

Text me the details using that phone.

- That's it?

- No.

There's a lot more to do than that.

(piano music) (tense music) (lid clatters) (tense music) (voices speaking nearby) (piano music) - Hey.

(tense music) (knocking at door) (door clicks open) (tense music) (door thuds shut) (lights click on) (tense music) I wanted to say that I was sorry.

Questioning you about the scratches, I...

I didn't need to do that.

- You were just doing your job.

- Oh, it was more than that, I was...

I don't know, prying.

- It's okay.

(piano music) (tense music) - I saw Tom on the television.

- Yeah.

- He did well.

- I helped him choose the video clips of Rose.

- Didn't realize that you were so close to the family.

- What do you mean?

- To Tom.

I'm told you seem quite comfortable in his company.

- Am I being watched?

- No.

- But Tom is.

Are the police spying on him?

- You know as well as I do that the first person the police look at in a case like this is the boyfriend or the husband.

- He's not responsible for Rose going missing.

- No, I know.

We are.

(tense music) - X-Ray One, stand by.

Unknown approaching target address, hood up.

- [Control] Control from X-Ray One, stand by.

Unknown approaching target address, hood up.

Is it a possible for target?

- X-Ray One to Control, unable to say.

Dark clothes.

May be smaller than target's height.

Moving towards the alleyway at side of target's house.

- [Control] Control, Delta, move closer to drop off Two.

- [Delta] Okay.

- [Control] Two, give me a walk past.

- Copy.

(tense music) From Two.

Unknown climbing over rear wall.

Wait out.

(door handle rattling nearby) Entering through rear door.

(tense music) (mobile vibrating) - Oh, I should take this.

Sorry.

Gibson.

Yes, go ahead.

(piano music) (tense music) (camera clicking) (tense music) (camera clicking) - [Control] Control, all signs stand by.

Unknown leaving target address.

- Follow.

- [Control] Target's now on Newton Road, ma'am.

- Where's that?

- [Control] University Quarter.

- Right.

- From Three.

Target is female, 16, 17 years old, entering Edson Avenue.

(keys jangling) - From Five, I now have.

- [Control] Hello, ma'am?

- Yeah, I'm here.

- [Control] Target went into a house on Edson Avenue, number 16.

We are trying to ascertain who resides there.

- I know that address.

That sounds like it could be the Benedetto girl.

Katie.

(piano music) - I'm sorry, I couldn't help but notice you sitting over here all by yourself.

I wasn't sure what you were drinking, but a good margarita is always acceptable, I think.

I'm Michael Day.

Bacon and Day Solicitors.

- How lovely for you.

- What do you do?

- I'm a pathologist.

From the Ancient Greek, pathos, meaning disease and logos meaning a treatise.

I study disease, death being the final disease.

- Now I'm thinking you must be Professor Reed Smith.

I had no idea.

Beauty and brains.

- Sorry I'm late.

It's nice to see you.

- Oh, nice to see you, too.

- Thanks.

Keep them coming.

- I'm, er...

I'm not the waiter.

Well, why are you standing there?

Well, that was nice.

- Yes, it was.

He knows who I am.

I daresay he knows who you are.

- So what?

- Oh, God, what am I doing?

- Going with the flow.

- I can't.

I can't.

I was brought up in Croydon.

- What's that supposed to mean?

- Look, I'm sorry.

I'm sorry.

(elevator dings) (mobile beeping) (elevator dings nearby) (lights click off) (tense music) (door thuds shut) (tense music) (suspenseful music) (knocking at door) - (quietly) Oh.

Jim.

- Stella.

Can I come in?

(Stella sighs) Just five minutes.

- Why?

- Five minutes, please.

- How did you know I was here?

- Why wouldn't you be here?

- Have you been drinking?

- I have, indeed.

Do you have ice?

- No.

How many years has it been?

- What?

Er... Oh, er... Five years.

This Christmas.

- Shouldn't you be phoning your sponsor?

- I just had a call from Eastwood.

Aaron Monroe is back in custody.

Made an attempt to kill his father in hospital.

His own father.

- Really?

- It was me who tipped off Morgan that Eastwood had warrants out for his son.

- Jim, I don't need to know this.

- I was trying to outmaneuver Monroe Sr., to make his position on the policing executive untenable.

If Aaron knows and tells Eastwood that it was me who tipped the father off, I'm finished!

(shudders) You know what he said to me?

Eastwood?

He called me a weak man.

Can you believe that?

A weak man!

I have been weak.

I am weak.

Oh, Stella.

(tense music) I want you so badly.

- Don't.

Jim, seriously, don't.

- Oh, please, Stella.

- No-- - Just one night.

Just one night.

I need to forget.

Please, Stella, please-- - Come on.

Jim.

- Please, please.

- Stop!

- Please, please, please!

(Stella choking) Please, please, Stella.

(blow lands) - (muted) sake!

(Jim groaning) (Jim breathing heavily) (Stella sighs) (tense music) - Today at the briefing, I saw a list of the children's homes that Spector says he attended.

One of those homes I got to know.

I got to know very well.

Run by a pedophile.

Father Fiachra Jensen, a man of my faith, Stella.

- Keep still.

- A man in a position of power, wielding moral authority.

His idea of midnight mass, soixante-neuf with an altar boy behind the altar in full vestments.

Unholy orders.

What a fall from grace.

I was the arresting officer.

Decades later, the lives of the victims, blighted by depression and addiction, broken marriages, self-harm, suicide.

Maybe this murderer's a victim, too.

- Maybe.

- Why are women emotionally and spiritually so much stronger than men?

- Because the basic human form is female.

Maleness is a kind of birth defect.

- (quietly) Stella.

- Oh, you look at me like you looked at that bottle of scotch.

A mixture of fear and anger.

I don't like it.

(keyboard clacking) (tense music) (computer bleeping) - Have you had a good evening?

- Yes, thanks.

You?

- It's been fun.

(tense music) How did it feel, breaking in?

- Thrilling.

What's my reward?

- What would you like?

- What are you wearing?

- Nothing.

- Prove it.

(tense music) (pages fluttering) (tense music) - [Paul] Oh, Stella, how revealing.

How exposing.

It's all in these pages.

Sweet little Stella missing her daddy, lost and alone.

Sexy Stella expressing her deepest, darkest desires.

Stroppy Stella, angry and misunderstood, lashing out against the world of men.

Oh, Stella Gibson, how well I know you now.

(tense music) (dramatic music)